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._J^'\rjn>^iii— XaljU^ 


PAINliNGS    OF    THE    LOUVRE 


•  ■*,      *     ,*     *•* 


v/  .:*ftzH/'e<H^*4i.  A.^U<>G' 


//^/^^-n/t /^^i€t' ^.y^A^:  ■^ffO't/Cfa^/r,^,^^  f^^tnct' 


3     3       3       1 
'3     3  3 


>'J,3  1>3,3  33  5 

'        '      3       '      3'      3      3        ,    T 
'       "  ',.»',    3  , 


Paintings  of  the  Louvre 

Italian  and  Spanish 

By 
D  r.   A  r  t  h  u  r  M  a  h  1  e  r 


IN     COLLABORATION     WITH 


Carlos   Black  el- 
and 

W.  A.  Slater 


NEW    YORK 

DOUBLEDAY,    PAGE    &    CO, 

1905 


*  •       •       " 


'-13 


*     •      toi'tftl^tl^f,   190^    BY 

DR.   ARTHUR    MAIII.KR,  CAKIDS    lil.ACKK.R    AM)    \V.  A.  SI.ATKR 
PUBLISHED  SEPTEMUER,   I905 
ENTERED    AT    STATIONERS'    HALT,,  LONDON 

A//  rights  reserved^  including  that  of  translatio7t  into  foreign  languages 
including  the  Scandinavian 


Wl 


^■kU 


THE   HEINTZMANN   PRESS,  BOSTON,  U.  S.  A. 


^ 


Dedicated  to 
Solomon   Re'inach 


21G978 


CONTENTS 


Introduction  .  •  ■  •  ■ 

Cimabue  to  Fra  Angelico 

Fra  Angelico  to  Antonello  (hi  Messina 

Antonello  da  Messina  to  Lionurdo  da  Vinci 

Lionardo  to  Raphael 

Raphael  to  the  renetian  School 

The  Venetian  School  and  Correggio 

Decline  of  the  Italian  Renaissance 

The  Spanish  School 

Notes   ..... 

Index  of  Paintings 

Alphabetical  List  of  Artists 


1 

3 

20 

70 

98 

122 

158 

206 

239 

269 

271 

301 


VII 


LIST    OF    ILTATSTKATrONS 


Monna  Lisa      .... 

The  Virgin  and  Child 

St.  Francis  Receiving  the  Stigniat;! 

The  Banquet  of  Herod    . 

The  Annunciation    . 

The  ]March  to  Calvary 

The  Presentation  in  the  Tenijjle 

The  Dream  of  St.  Jerome 

The  Coronation  of  the  Virgin 

The  Beheading  of  St.  John  the  Baptist 

The  Virgin  and  Child      . 

A  Battle 

The  Virgin  and  Infant  Jesus  . 

The  Nativity  .... 

The  Stigmatisation  of  St.  Francis 

The  Triumph  of  St.  Thomas  Acpiin;- 

The  Virgin  and  Child 

The  Virgin  in  Glory 

The  Virgin  and  Child      . 

The  Virgin  writing  the  Magnificat 

The  Virgin,  the  Infant  Jesus  and  St.  John 

The  Visitation 

Old  Man  and  Child 

The  Virgin  and  Child 

Christ  on  the  way  to  Calvary 

The  Birth  of  the  Virgin 

The  Adoration  of  the  Magi     . 

Portrait  of  a  Princess  of  Fste 

Pandolfo  Malatesta  Praying  to  the  Virgin 

The  Presentation  in  the  Temple 

The  Virgin  and  Child      . 

Saint  Sebastian 

Combat  between  Love  and  Chastity 

ix 


PAGE 

l><i  ]'i)iri.     Frontispi 

ece 

Cimahne 

4 

Giotto 

7 

TmhJeo  G<i(hH 

10 

Agnolo  ihuldl 

11 

.    Me  mini 

15 

.       Fredi 

17 

Sono  di  Pietro 

IS 

.  Fra  Angeliro 

21 

.  Fra  Angelico 

23 

.   Neri  di  Bicci 

24 

.     Fr  cello 

26 

Lippi 

28 

Lip  pi 

31) 

Pesellino 

32 

.     GozzoU 

34 

France.sca 

35 

Verrocchio 

37 

Lorenzo  di  C  'redi 

39 

liidtiveUi 

41 

BotticeUi 

43 

I>.  Ghlrlandajo 

46 

T>.  Ghirhnidiijo 

47 

Maituirdi 

48 

r>.  Ghirlandajo 

49 

SiguoreUi 

51 

SigHdrelli 

53 

Pusanello 

54 

Fahriano 

55 

Fahriano 

56 

Peru  gi  HO 

59 

Perugino 

61 

Perugino 

63 

LIST  OF   ILLUSTRATIONS 


>r  ;it  Cain 
rus.-ilciii 


Till'  Virjjfin  ;iiul  Cliild 

The  \'ir);iii  and  CliiUl 

The  Virf;;in  in  Glory 

St.  John  of  Cji{)i.straii 

Portrait  of  a  Man    . 

Portrait  of  two  Men 

Reception  of  a  A'ciutian  Aiiil)assu( 

Tiie  Preachinf?  of  St.  Steplnn  at  J 

Calvary   .... 

The  Virgin  of  the  Victory 

Victory  of  Mrtue  over  Vice 

Parnassus 

The  Virgin  and  Ciiild 

St.  Augustine  and  a  Donor 

Four  Fathers  of  the  Church 

Pieta        .... 

The  Virgin  and  Cliiki 

Court  of  Isabella  of  Kste 

The  Nativity  . 

Christ  on  the  Cross 

The  Virgin  and  Child 

Christ  Carrying  the  Cross 

The  Birth  of  Christ 

The  Last  Sujjpcr     .  .  Copij  of 

The  Virgin  of  the  Rocks 

Portrait  of  Lucrezia  Crivelli 

St.  John  the  Baptist 

The  Virgin,  the  Infant  Jesus  and  St.  A 

The  Virgin  of  the  Scales 

The  Holy  Family    . 

The  Virgin  of  the  Casio  Family 

The  Crucifixion 

The  Virgin  of  the  Green  Cushion 

Head  of  St.  John  the  Baptist  on  a  Charger 

Salome  Receiving  the  Head  of  St.  John  the  Baptist 

The  Holy  Family    . 

The  Sleeping  Infant  Jesus 

Saint  Paul 

St.  Michael  and  the  Dragon 

St.  George 


I'AtlK 

f'hifiirlrflili)     ()5 

.        Sj)(l(/tHI         ()(j 

Mitini'i  (i7 

.    ]'iriiriiil  ()S 

.    MrxxitKl  71 

(•■fii/lle  iirllln!  72 

<          Gentile  Bellini  1 1 

Carpaccio  7() 

Jfinifcffiia  78 

MittileijiKi  HO 

Mantfgua  H-2 

Mdiitffjiiu  H3 

Ittrlh.  fn  hill  Llhri  84 

.    lloryiKjiKine  H5 

.     Sdcrhi  H7 

.  <  'dsIiiio  Turn  HH 

III  rill,  to  Srhiitcone  8!) 

.      CoKtd  !)() 

.  Panetti  92 

Friinrid  93 

I'lijjil  of  Fnuicia  Ot 

Marchesi  !),5 

Massone  9<) 

•do's  ])ii't iin\  1)1/  Of/(/io)io  f)9 

LioiKinlo  (hi   I'iiici  101 

Lionardo  da  Vinci  103 

Lionardo  da  Vinci  105 

Liotmrdo  da  Vinci  107 

Cfi.iare  da  Scsto  109 

Oggiotio  110 

lioltraffii,  1 1 1 

.    Soldfio  113 

.  Solario  114 

.  Solaria  115 

Lnini  117 

.      Liiini  118 

Liiiiii  119 

.  Ferrari  120 

Raphael  123 

Raphael  125 


Tint 


LIST   OF   ILLUSTRAT 

Apollo  and  Marsyas 

La  Belle  Jardiniere 

The  Virgin  of  the  Blue  Diadem 

The  Holy  Family  of  Francis  I 

St.  John  the  Baptist  in  tlie  Desert 

The  Vision  of  Ezekiel     . 

Portrait  of  a  Young  Man 

Portrait  of  Two  Men 

Portrait  of  Balthazar  Castiglione     . 

Portrait  of  Jeanne  of  Aragon 

The  Nativity 

The  Triumph  of  Titus  and  Vespasian 
David  and  Goliath  .... 

The  Visitation  .... 

Coronation  of  the  Virgin 

Coronation  of  the  Virgin 

The  Mystic  Marriage  of  St.  Catherine 

The  Virgin  and  Child      . 

The  Holy  Family    .... 

Charity    ...... 

An  Engraver  of  Precious  Stones 

Portrait  of  a  Sculptor 

Christ  and  the  Woman  taken  in  Adultery 

Annunciation  to  the  Shepherds 

A  Pastoral  Concert 

The  Holy  Family    .... 

The  Holy  Family    .... 

The  Entombment    .... 

Christ  being  Crowned  with  Thorns 
Alphonso  of  Ferrara  and  Laura  Dianti 
Allegory  in  honour  of  Alphonso  uf  Avalos 
Francis  I  .         .         .         . 

The  Man  with  a  Glove  . 
Portrait  of  Jerome  Crofft 
The  Virgin  and  Child  . 
Susanna  after  the  Bath  . 
Portrait  of  Tintoretto 
A  Venetian  Senator 
The  Smiting  of  the  Rock 
The  Burning  of  Sodom   . 


1  V^  !■< 

o 

A.1 

PAGE 

Altrih.  to  Ku/jliael 

127 

TUvphael 

129 

Ruphael 

131 

Rnphad 

133 

Raphael 

131. 

Raphael 

135 

Raphael 

13« 

Raphael 

137 

Riiphai'l 

138 

Raphael 

139 

Romano 

141 

Romano 

112 

Volterra 

113 

Ludano 

114 

.     ilarho 

14(5 

Lorenzo 

14T 

Fra 

Bartolommeo 

14S 

AlherlineUi 

l.il 

Del  Sarfo 

1, 52 

Del  Sarto 

lo3 

Carrncci 

1,55 

Bronzino 

157 

Lotto 

159 

1 

'alma  Vecchio 

l(jl 

Giorgione 

162 

Pup  I 

I  of  Giorgione 

163 

.     Titian 

166 

.     Titian 

169 

.     Titian 

170 

.     Titian 

172 

.     Titian 

174 

.     Titian 

175 

.     Titian 

176 

Paris  Bordone 

178 

Bonifazio 

179 

Tintoretto 

181 

Tintoretto 

183 

Tintoretto 

185 

Bassano 

186 

Veronese 

188 

xu 


LIST  or  ii.i.rsTiJA  rioNS 


Susanna  and  till-  Elders. 

Calvary   ..... 

The  Holy  l-aniily    . 

The  Wediliii;;  l''east  of  ('ana    . 

Repast  at  the  House  of  Simon 

The  l*ilj;rinis  of  Emniaus 

I*ortrait  of  Gaston  dc  Foix 

The  Virfrin  and  Child      . 

The  Mystie  Marriage  of  St.  Catherine 

The  Sleeping?  Antiope 

The  Cireunu'ision    . 

The  Virgin  in  (ilory 

The  Dead  Clirist  on  the  knees  of  the  Virjiin, 

The  Sleeping  Infant  Jesus 

The  Hunt        .... 

The  Fishinj;    .... 

The  Penitent  Mary  Majidalene 

The  Rape  of  Dejanira 

Saint  Cecilia    .... 

Protecting  Saints  of  the  City  of  Modena 

A  Concert       .... 

Mary  Magdalene  Rospigliosi  . 

The  Death  of  the  Virgin 

A  Concert        .... 

A  Woman  Fortune  Teller 

Alof  of  Wignacourt,  Grand  Master  of  Malta 

A  Battle  .... 

The  Dance  of  the  Cupids 

The  Triumph  of  David    . 

A  Concert  in  Rome 

Interior  of  St.  Peter's 

Venus  and  Cujiid    . 

Church  of  the  Madonna  Delia  Salute 

Embarking  of  the  Doge  on  the  Bucentaur 

Procession  of  the  Doge  to  the  Church  of  St. 

The  Last  Sui)i)cr     . 

Christ  Carrying  the  Cross 

St.  Basil  Dictating  his  Doctrine 

The  P\ineral  of  a  Bishop 

The  Entombment    . 


.Inn 

A  lit) 
A  tin 
Ann 


K.l 


1  'eronexe 
1  ''eronsse 
I  ^eronese 
]'^nr<nii'xn 
I'eroiifsfi 
Veronese 
Saroldo 
lllanrhi 
( 'iirreyylo 
Correggio 
I>an>rri 
Jiarorrl 
tulle  Carrarrl 
hale  Carracci 
hale  Carrarrl 
hale  Carrarrl 
Guldo  Jlenl 
Guldo  Renl 
Domeuirhino 
Cuerrhlno 
Spada 
Maratta 
Carar(i)f(/i(> 
Caravag<jl(> 
Cararagglo 
CaraiHigglo 
Sah'ator  linKa 
iliurdatio 
liossrlll 
,  Panlnl 
.   Panlni 
Yariitarl 
Canaletto 
.  (r  Hard  I 
Cuardl 
.   Tlrpolo 
^foralf.t 
ITi'rrfra 
Ziirharati 
.    lUhera 


ri;is 


IHf) 
1!»1 

if):j 

lOl- 
1!»() 
li)7 
1!)9 
202 

io;} 

20\. 

201 

■208 

■210 

211 

-212 

213 

214 

215 

217 

218 

219 

221 

223 

224. 

226 

226 

228 

229 

230 

231 

232 

233 

234 

23.5 

236 

237 

240 

241 

243 

245 


LIST   OF    ILLUSTRATIONS 


Adoration  of  tlie  Shepherds    . 

The  Club  Foot 

The  Infanta  Maria  Mar>«;ucrita 

Phihp  IV  in  hunting-  costume 

Don  Pedro  Moscoso  de  Altainira 

An  Assembly  of  Artists 

The  Kitchen  of  the  Anjrels 

The  Vir<iin  of  the  Rosary 

A  Little  Beggar  Boy 

Birth  of  the  Virgin 

The  Immaculate  Conception  (170S) 

The  Immaculate  Conception  (17()9) 

Guillemardet,  French  Ambassador  to  Spain 

A  Young  Spanish  Woman 

A  Young  Spanish  Woman  witli  a  Fan 


.    lilhera 

.    Jiihera 

Velasquez 

1  ^elasquez 

Velasquez 

Velasquez 

Murillo 

Murlllo 

Murillo 

Murlllo 

Murlllo 

Murlllo 

Goya 

Goya 

Goya 


Xlll 
PAG  V. 

247 
2iS 
'i.jO 
251 
253 
254. 
256 
258 
259 
2(j() 
2()1 
263 
264 
265 
266 


PAINTINGS    OF    THE    LOUVRE 


ANCICNNES 
SALLES 


PLAN 

of  tliat  part  of  tlu-  Ciallery  of  the 
Louvre  ill  \vhich  the  Italian  and 
Spanish  Schools  are  to  be  found  : 

I.    La  Caze  Gallery. 
I\'.    Salon  Carre. 
V.    Salk-  Diu-hatel. 
VL    Long  Gallery  in  six  divisions, 
A,  B,  C,  D,  E,  F. 
VIL    Salle    des    Primitifs,    Italian 
pictures  of  the  XlVth  and 
XV th  centuries. 

IX.   Salle  Bolognaise. 
XV.    Salle  Denon  (portraits). 

Salles  des  Dessins  et  Pastels. 


— '_    LA  CAZE 


GALLEKy 


XX 


CXK 


XVI 


SALLES  DES  DESSINS 

!  - 

>     P 
\ 


i 

I 


.>,  '  ' '  ' 

>   5  3  >    a    » 


»    »  5  3  . 


PAINTINGS    OF   THE    LOUVRE 

INTRODUCTION 

THE  visitor  who  passes  from  the  lower  to  the  upper 
galleries  of  the  Louvre  might,  with  reason,  be 
tempted  to  ask  himself  where  the  art  of  the  intervening 
thousand  years  was  to  be  found,  and,  on  realizing  that  his 
search  would  be  in  vain,  he  might  speculate  as  to  the  cause 
or  causes  which  had  conspired  to  make  this  so. 

How  and  why,  he  might  ask  himself,  did  that  perfect 
art  of  Greece  and  its  humble  Roman  imitation  find  no 
followers  ?  How  and  why  did  they  so  vanish  that  art  had 
to  be  born  again  and  reappear  in  the  form  of  almost 
childish  attempts  at  expression  a  thousand  years  later  ? 

To  these  questions,  the  answer  must  be  that  the  prin- 
cipal factors  in  operation  were  Christianity  and  Barbarian 
invasions.  Christianity  would  not,  and  the  Barbarian 
could  not,  appreciate  those  peerless  productions  which 
were  before  their  eyes.  In  them  Christianity  saw  Pagan- 
ism, and  the  Barbarian  deemed  them  effeminate  and  futile. 

Rome,  the  centre  of  civilization,  invaded  by  wild  hordes 
from  without  and  disintegrated  by  the  new  Christian 
teaching  from  within,  was  so  radically  transformed  that 
the  art  of  the  past  could  find  no  place  in  its  organism. 
Olympus  was  no  more,  and  the  representations  of  its 
Gods  were  looked  on  as  impure  and  idolatrous  objects. 
The   temples    were    abandoned,    and    many    a   work   of 

1 


C    r       ^ 


*    r  r       t 

<    ■     t  r  r    % 


i>  INTRODUCTION 

incomparable  beauty  was  doomed  to  perish  in  the  fire  of 
lime-kilns. 

Then  artistic  efforts  found  refuge  in  the  adornment  of 
objects  of  daily  use,  such  as  sarcophagi,  and  this,  later, 
became  stereotyped  into  those  Byzantine  productions 
which  still  live  in  the  form  of  religious  pictures  so  called, 
while  mosaic  was  much  used  in  decoration.  The  Byzan- 
tine model  was  the  artistic  standard  and,  in  tliis  form.  Art 
lived  through  the  Dark  Ages.  Gold  ornamentation,  crude 
coloring  ami  rigidity  alone  prevailed,  and  the  iconoclasts 
did  the  rest.  Architecture  indeed  lived,  but  it  expressed 
itself  in  massiveness  rather  than  beauty.  Efforts  and 
labour  w^ere  not  wanting,  but  research  was  trammelled, 
and  so  the  results  were  poor.  Then,  and  only  when  the 
very  memory  of  the  great  men  and  great  things  of  the  past 
seemed  to  be  forgotten  for  ever,  appeared  the  first  gliin- 
mer  of  that  wonderful  light,  the  Italian  Renaissance, 
and  among  the  first  to  herald  its  dawn  was  Giovanni 
Cimabue. 


NOTE 

IT  will  be  found  that  the  pictures  are  given  in  the  order 
of  their  numbers.  In  many  eases,  the  dates  of  the  artists 
do  not  agree  with  those  on  the  pictures,  but,  where  these  do 
not  agree,  it  is  because  the  dates  here  given  are  taken  from 
later  authorities.  In  most  cases  we  have  given  the  artists  to 
whom  the  pictures  are  attributed  on  the  pictures ;  but  it  will 
be  noticed  that,  in  the  text,  we  do  not  alwaj  s  agree  with 
these  authorities.  In  some  catalogues,  many  more  pictures 
are  mentioned,  but  this  is  because  they  give  all  the  pictures 
that  are  in  the  possession  of  the  Louvre,  although  some  of 
them  are  in  storage.  We  have  tried  to  give  only  those  that 
are  exhibited  and  to  omit  none  of  these. 

This  bv)ok  only  deals  with  the  Italian  and  Spanish 
Schools,  but  it  is  the  intention  of  the  authors  to  treat  the 
other  schools  of  paintings  after  the  same  manner  in  sub- 
sequent volumes. 


CIMABUE   TO  FRA  ANGELICO 

T  X  T'lTH  Cimabue  (1240-1302),  after  an  eclipse  of  a 
^  ^  thousand  years,  art  finally  emerged  from  darkness. 
Not  that  Cimabue  was  the  first  to  paint  on  a  flat  surface 
with  colour,  for,  even  earlier  in  the  thirteenth  century,  there 
had  been  a  street  in  Florence  called  dei  Pittori  (of  the 
Painters).  But  that  which  had  existed  before  him  was 
the  work  of  decadence  and  was  tainted  by  the  most 
severe  Byzantinism.  It  was  Cimabue  who  infused  a  new 
spirit  into  the  old  schools  in  which  he  had  studied,  who 
renewed  in  man  forgotten  types  and  who  first  gave  to 
inanimate  forms  a  new  life.  He  imbued  his  subjects  with 
energy  of  expression,  greater  subtleness  of  outline  and 
more  delicate  colouring.  It  was  this  severance  from  the 
traditions  of  the  past  which  caused  his  efforts  to  be  of 
such  immense  importance.  This  is  why  the  father  of 
the  history  of  art,  Georgio  Vasari  (1511-1574),  in  his 
work  called  "  The  Lives  of  the  Most  Eminent  Painters, 
Sculptors,  and  Architects,"  begins  his  series  of  biog- 
raphies of  celebrated  painters  with  Giovanni  Cimabue. 

To-day,  when  we  are  masters  of  technique  and  can  so 
easily  give  an  object  the  appearance  of  relief  on  a  flat 
surface,  we  can  scarcely  appreciate  the  difficulties  which 
in  Cimabue's  time  had  to  be  overcome. 

In  order  to  realize  this  progress  as  compared  with 
past  traditions,  one  must  study  Cimabue's  picture,  "  The 
Virgin  and  Child"  (No.  1260),  which  is  to  be  found  in 

3 


i 


E.  Hautecoeur,  Phot. 

[-1] 


Salle  VII 


1260.     The  Virgin  and  Child.  —  Oimahue. 


CIMABUE   TO   FRA   ANGELICO  5 

the  Salle  des  Primitifs  in  the  Louvre.  The  Virgin  ap- 
pears against  a  background  of  uniform  gold,  severe  and 
majestic,  seated  on  a  massive  throne  with  the  Child  upon 
her  knees.  It  is  the  gentle  inclination  of  the  head  and 
the  melancholy  resignation  with  which  the  artist  has 
softened  the  expression  of  the  face  which  announce  tliis 
new  era.  The  Child  is  no  longer  the  traditional,  rigid 
doll.  He  has  become  animated,  and  a  wistful  expres- 
sion plays  over  the  faces  of  the  angels,  thus  giving  an 
appearance  of  life  to  a  woriv  of  art  for  the  first  time. 
The  grouping  still  seems  primitive,  the  angels  stand 
stiffly  on  either  side  of  the  throne,  but  the  problem  of 
grouping,  here  considered  for  the  first  time,  is  of  capital 
importance.  Cimabue  also  felt  the  power  of  colour  and 
tried  to  give  it  greater  emphasis;  and,  although  the  blue 
garment  of  the  Virgin  is  still  traditional,  it  is  treated 
with  a  certain  gracefulness  of  outline,  and  there  is 
originality  in  the  red  band  which,  running  round  it, 
forms  a  hem,  while  the  wings  and  robes  of  the  angels 
are  variously  and  richly  shaded.  It  is  especially  in  the 
colouring,  however,  that  one  clearly  recognizes  the  still 
active  influences  of  tradition  and  of  mosaic  work,  for 
here  we  see  no  shade  of  gradation.  The  tones  are 
placed  in  violent  contrast  to  each  other;  what  should  be 
red  in  the  faces  is  brown,  and  the  robes  of  the  angels 
are  bluish  pink  with  no  intermediary  shades.  This  great 
initiator  only  timidly  attempted  to  interpret  nature,  as  if 
he  feared  that  the  problem  was  beyond  his  powers;  and 
so  the  head  of  the  Virgin  is  too  large,  the  fingers  are  too 
tapering,  the  chin  and  mouth  too  small  and  the  eyes  too 
almond-shaped. 


6  PAINTINGS   OK   THE   LOUVRE 

'J'he  awakening  of  art  from  its  sleep  of  centuries  be- 
ing an  acconiplislicd  fact,  Ciinabue  left  tlie  continuation 
of  the  work  to  his  great  and  capable  pupil,  Giotto  di 
Bondone  (h27()-l.'537). 

While  still  living,  Giotto  saw  his  fame  proclaimed  by 
no  less  a  poet  than  his  friend  Dante.  "  Cimabue  believed 
that,  in  painting,  he  was  master  of  the  field,  but,  to-day. 
Giotto  has  the  acclamation  of  the  public  and  Cimabue's 
fame  is  overshadowed"  (Purgatorio,  XI-32).  Cimabue 
was  said  to  have  found  Giotto  as  a  shepherd  in  a  field 
making  drawings  of  sheep,  and  was  so  surprised  by  their 
excellence  that  he  took  him  as  his  pupil.  Another  story 
was  that  Giotto,  apprenticed  to  a  wool  merchant,  had 
so  ncirlcctcd  his  work  in  order  to  be  near  Cimabue  that 
he  was  dismissed  by  his  master.  A  little  later,  however, 
he  was  enabled  to  devote  the  rest  of  his  life  to  the  art 
of  painting  which  he  loved  so  well. 

The  subjects  which  Cimabue  represented  were  con- 
fined by  tradition  to  scenes  from  the  Gospels  and  the  ( )ld 
Testament.  Giotto  had  the  good  fortune  to  find  a  fertile 
subject  in  the  new  and  touching  legends  connected  with 
St.  Francis  of  Assisi.  To-day,  his  masterpieces  are  to  be 
found  in  Assisi  and  Padua.  Unfortunately,  the  Louvre 
contains  only  one  specimen  of  this  artist's  work,  '*  St. 
Francis  of  Assisi  Receiving  the  Stigmata"  (No.  1312), 
which,  as  well  as  nearly  all  of  the  pictures  coming  imme- 
diately under  consideration,  is  to  be  found  in  the  Salle 
des  Primitifs.  Though  a  valuable  example  of  Giotto's 
work,  this  picture,  unfortunately,  is  not  entirely  free  from 
restoration.  The  saint  is  kneeling  in  ecstasy,  stretching 
out  his  arms  and  raising  his  eyes  to  the  figure  of  Christ 


E.  Hautecceur.  Phut. 


Salle  VII 


1$12.     St,  Francis  receiving  the  Stigmata.  —  Giotto. 


[7] 


8  PAINTINGS   OF   THK   LOUVRE 

which  floats  above  in  the  act  of  transmitting  the  stigmata 
to  the  body  of   St.  Francis.     The  remarkable  feature  of 
the  composition   is  that  St.  Francis'  attitude  of  wonder 
and  reverence  is  such  that  the  transmission  of  the  stigmata 
seems  natural  and  suggests  no  physical  distortion.    The  ex- 
pression   on   the  countenance  of  St.  Francis  is  no  less 
remarkable;  for  in  it  we  read  timidity,  reverence,  and 
astonishment,   inspired   l)y  the  grace   imparted  to   him. 
Up  to  the  time  of  Cimabue  it  was  the  custom  of  artists 
to  wet   the   drapery  on   their  models  in  order  to  make 
it  c'eave  more   closely  to  the  body,  but   the  robe    here 
is  no  longer  treated  in  this  primitive  manner,  as  if  glued 
to  the  figure  in  parallel  lines,  and  the  amply  draped  gar- 
ments adapt  themselves  to  the  movements  of  the  body. 
Giotto,  however,  confined  himself  to  an  excessive  sim- 
plicity of  detail  in  the  treatment  of  landscape,  to  which 
he  was  limited  by  the  ignorance  of  perspective,  charac- 
teristic of  the  period.     The  stiff  trees  seem  pasted  to  the 
mountain,  and  these,  together  with  the  buildings,  bear 
no  relation  to  the  figures. 

Below  the  main  picture  are  three  small  scenes  relating 
to  the  legend  of  St.  Francis.  One  of  them  represents 
the  dream  of  Pope  Innocent  III  to  whom  St.  Francis 
appears  propping  up  the  crumbling  basilica  of  St.  John 
of  Lateran.  The  architecture  is  simply  suggested  by 
means  of  thin  columns  without  proportion.  The  second 
scene  represents  the  Pope  conferring  the  rules  of  the 
Order  of  the  Franciscans;  and  the  third  refers  to  the 
most  charming  of  legends  —  St.  Francis  preaching  to 
the  birds.  Here  Giotto  seems  to  have  expressed  some- 
thing of  his  gentle  nature,  for  there  is   a   distinct  dain- 


CIMABUE   TO   FRA  ANGELICO  9 

tiness  in  each  of  the  birds  and  something  touching  in 
the  sohcitous  attitude  with  which  St.  Francis  so  sweetly 
manifests  liis  immense  love  for  the  things  of  nature. 
The  paintings  by  Giotto  connected  with  the  legend  of 
St.  Francis  of  Assisi  have  become  classic  in  Italian  art 
and,  more  than  a  hundred  years  later,  we  find  the  same 
subject  treated  in  the  works  of  Pesellino. 

The  sudden  progress  achieved  by  Giotto,  as  compared 
with  what  had  gone  before,  was  too  great  to  be  continued 
by  his  immediate  successors.  The  "  Funeral  of  St.  Ber- 
nard" (No.  1313),  School  of  Giotto,  shows  some  ten- 
dency to  imitate  the  master's  manner,  but  without  complete 
success.  Emotion  is  expressed  in  a  conventional  manner; 
mourning,  for  instance,  is  suggested  by  the  bowed  head 
and  raised  hands;  but,  on  the  other  hand,  the  treatment 
of  grouping  is  varied  and  in  accordance  with  the  man- 
ner of  Giotto.  Some  figures  are  in  profile,  while  others 
are  in  full  face,  and  the  composition  is  clear  and  in- 
telligible. 

While  Giotto  portrayed  emotion  by  the  actual  expres- 
sion of  the  face,  primitive  art  and  Giotto's  immediate  suc- 
cessors could  do  so  only  by  means  of  narrative.  Thus, 
in  "St.  Francis  Receiving  the  Stigmata,"  Giotto  ex- 
pressed awe  and  veneration  on  the  countenance  of  the 
saint,  whereas,  in  the  "  Funeral  of  St.  Bernard,"  by  a 
pupil,  we  see  sorrow  expressed  only  by  means  of  bowed 
heads  and  raised  hands.  In  other  words,  Giotto  gives 
us  the  emotion  itself,  the  others  an  attribute  of  emotion. 
Thus,  primitive  art  delighted  in  narrative  expressed  by 
means  of  accessory  compositions,  and  described  in  them 
incidents   which  occurred  before  or  after  the  principal 


lo 


TAIN  TINGS   OF    1' H  K    LOUVl{K 


event.  This  may  be  seen  in  "The  lianfjiiet  of  Herod,"  l)y 
Tudcleo  (ia(l<h  (l.'JOO-l.'JGO  ?),  one  shutter  of  a  prcch-lhi  in 
three  parts  consisting  of  the  "liaiujuet  of  Herod,"  "The 
Crucifixion,"  and  "The  Martyrdom  of  a  Saint"  (No. 
i;{()'-2).  Here  we  see  a  warrior  bringing  tlie  bleeding 
head  of  St.  John  to  Herod  (hiring  tlie  feast  while,  on  the 
left,  in  an  <)j)cu  tower,  lies  the  decapitated  botly  of  the 
saint,    and,    on    the    right,    Salome  with    Herodias.      In 


Braun.  Clement  &  Ci<--.,  Pli'  t  Salle  VII 

1303.      The  hdiujitif  >>/  llcniil.  —  Ptirli.fn  Predella  by  Taddeo  Gaddi. 

"The  Crucifixion"  of  the  same  predella  as  well  as  in 
the  side  panel  representing  "  The  ^lartyrdom  of  a  Saint," 
we  see  the  qualities  which  Giotto  had  taught  the  Floren- 
tines to  search  for,  namely,  animation  of  movement  and 
expression  on  the  countenances.  In  "  The  Crucifixion  " 
are  to  be  found  other  new  elements  —  the  repose  of  the 
body  of  the  dead  Saviour,  and  the  characteristic  con- 
trast l)etween  the  good  and  bad  thief.  Although,  in  this 
picture,  the  colour  and  touch  are  less  delicate  than  those 
of  Giotto,  his  influence  is  still  very  perceptible. 


CIMABUE   TO   FRA   ANGELICO 


1  I 


As  the  subjects  treated  became  more  complicated,  tech- 
nique was  necessarily  more  and  more  developed;  and,  with 
technique,  came  the  decorative  element.  This  commenced 
with  Taddeo  (1300-1366?)  and  continued  with  Agnolo 
Gaddi  (1343-1396).  "The  Annunciation"  (No.  1301), 
l)y  Agnolo,  shows  great  freshness  of  colouring,  but  a  lack 
of  observation  in  his  treatment  of  nature.     The  Virgin 


E.  H.-ititcLcur.  i  int. 


1301.      The  AnrmnrUtfidti.  —  A'jnolo  Gaddi. 


is  neither  standing  nor  seated;  the  action  of  the  other 
figures  is  stereotyped,  and  the  expression  of  the  faces  is 
affected.  We  see  this  tendency  to  affectation  and  manner- 
ism in  "The  Virgin  and  Child"  (No.  1316),  evidently  a 
work  by  Agnolo  Gaddi,  though  ascribed  on  the  frame  of 
the  picture  to  the  school  of  Giotto.  Here  his  angels'  faces 
are  w^ithout  character  and  all  are  alike;  the  hair  is  too 
artificially  arranged,  and  the  whole  is  on  a  uniform  back- 


12  PAINTINGS   OF  THE   LOUVRE 

ground  of  ^ol<l.     In   this    picture  the   ])urcly  decorative 
element  overshadows  tlie  subject. 

We  have  now  considered  three  generations  of  artists. 
The  first,  with  Ciniabue,  emancipated  itself  from  many 
Bvzantine  traditions.  The  second,  with  (iiotto,  repre- 
sented emotion  in  the  expression  of  the  faces,  m()l)ility 
and  artistic  grouping.  In  the  third,  with  which  we  have 
just  dealt,  that  of  Taddeo  and  Agnolo  Gaddi,  decoration 
and  adornment  rej)lace  real  feeling.  In  this  third  gen- 
eration of  artists,  although  the  old  Byzantine  manner 
seems  to  have  disappeared,  this  is  not  entirely  the  case, 
for,  as  often  happens  when  one  form  of  art  ceases  to 
exist  and  a  new  form  is  not  perfected,  a  return  to  the  point 
of  de])arture  took  place,  and,  with  tliis  return,  a])peared 
former  archaic  elements.  Thus  we  see  in  "The  Virgin 
and  Child"  (Xo.  131.5),  by  a  pujnl  of  Giotto,  the  narrow 
eyes,  the  conventional  pose  and  the  garment  covering 
the  feet;  in  a  word,  all  the  elements  with  which  Cinuibue 
had  had  to  contend. 

While  religious  subjects  continued  to  conform  to  tra- 
dition, secular  scenes  began  to  change  into  representations 
of  the  actual  life  of  the  period.  Even  "  The  Birth  of  St. 
John  the  Baptist"  (No.  1317),  by  a  pupil  of  Giotto,  with 
all  its  awkwardness,  is  a  little  scene  representing  the  life 
and  conditions  of  the  fourteenth  century.  Two  women 
stand  near  St.  Elizabeth  ministering  to  her,  while  an  aged 
woman  bends  over  and  plays  with  the  new-born  Child 
and  presents  Him  with  a  flower.  It  was  wdth  such  works 
as  these,  in  spite  of  all  their  shortcomings,  that  art  was 
born  again;  and  the  three  subsequent  centuries  owe  the 
origin  of  their  wonderful  creations  to  these  beginnings. 


CIMABUE  TO   FRA  ANGELICO  13 

At  the  commencement  of  the  fifteenth  century  Italy 
was  in  a  condition  of  continuous  internal  political  strife. 
Divided  into  innumerable  little  states  all  fighting  each  other 
with  implacable  liatred,  the  clearest  political  foresight 
could  not  predict  the  possibility  of  a  national  unity.  It 
was  only  that  extraordinary  man,  Csesar  Borgia,  who 
first  dreamed  of  this.  But  these  conditions  of  isolation 
and  these  political  struggles  for  supremacy  were  pecul- 
iarly advantageous  to  art;  and,  side  by  side  with  the  art 
of  Florence,  grew  up  innumerable  local  schools  of  a 
lower  order  in  many  respects  and  without  any  character 
of  their  own.  Each,  according  to  its  own  individuality, 
contributed  to  form  the  art  of  the  Renaissance,  and, 
after  an  existence  more  or  less  long,  they  were  finally 
absorbed  by  the  great  master  schools. 

The  natural  counterpart  of  the  art  of  Florence  is  that 
of  the  school  of  Siena.  This  city,  in  political  rivalry 
with  its  powerful  neighbour,  also  had  an  amljition  to 
struggle  with  Florence  in  the  domain  of  art.  What 
Cimabue  had  done  for  Florence,  Duccio  did  for  Siena. 
It  is  greatly  to  be  regretted  that  there  is  no  picture  by 
Duccio  in  the  Louvre. 

On  the  19th  of  June,  1310,  a  solemn  procession  went 
to  Duccio's  house  to  fetch  the  picture  of  "  The  Virgin 
Enthroned,"  destined  for  the  high  altar  of  the  cathedral, 
and  carried  it  there  to  the  sound  of  bells,  drums,  and 
trumpets;  and  there  it  may  still  be  seen  in  its  original 
position.  This  date  marks  the  official  recognition  of 
Siena  as  the  rival  of  Florence  in  painting. 

The  essential  and  fundamental  difference  between  the 
two    Schools    consisted    in    this,    that,    while    Cimabue 


1  I.  I'AIN'TINGS   Ol'    rHI',    LOUVRE 

traiisforinod  liyzaiiline  art,  Diiccio  j)erfecte<l  it  even  though 
lie  retained  its  manner.  Notwithstanding  the  consider- 
al)le  j^rogress  reahsed  by  Duccio's  successors,  tlie  Mennnis 
and  live  Ix)renzettis,  the  Sienese  school  was  destined  to 
perish  l)ecause  its  art  erred  from  its  very  starting  point. 

"The  Virgin  and  C'hihl,  Tlie  Nativity  and  The  Cruci- 
fixion" (Xo.  1()()7),  a  tryj)ti(h  hy  an  unknown  master, 
presents  all  the  characteristics  of  the  primitive  manner 
of  Siena.  'J'he  pose  of  the  Virgin  is  rigid,  and  lier  type 
vividly  recalls  the  Byzantine  models,  but  there  is  an  im- 
provement. The  Child,  whom  she  holds  upon  her  knees, 
turns  with  an  ea.sy  motion  toward  the  angels  who  adore 
Ilim  and,  at  the  foot  of  the  throne,  are  some  figures  play- 
ing on  musical  instruments.  The  grouping  of  these  figures 
is  in  uniform  lines,  the  composition  is  simple  and  natural, 
the  action  is  dignified  and  measured,  and  the  types, 
lliough  still  primitive,  are  full  of  expression.  We  find 
the  same  characteristics  in  the  representation  of  tragic 
su]>jects,  as  in  "The  Crucifixion"  (No.  KKJo)  by  an  un- 
known master.  Here  an  attempt  at  symmetry  in  the 
grouping  niay  be  distinctly  seen  in  the  horsemen  at  the 
sides  of  the  picture. 

Siena  clung  to  Byzantine  traditions  in  interpreting  sacred 
subjects  and  became  the  model  for  the  treatment  of  sacred 
art  in  all  Italy.  To  this  day  we  still  see  a  survival  of  the 
Byzantine  manner  in  the  hn^dling  of  certain  religious  sub- 
jects. We  find  in  Siena  the  most  charming  works  of  this 
kind,  such  as  those  of  Simone  Mennni  (ISSS-lS^i),  to 
whom,  as  the  worthy  rival  of  Zeuxis,  Petrarch  dedicated 
some  eulogistic  sonnets  (Nos.  57  and  58).  It  is  in  his 
types  of  the  Virgin  that  Memmi  shows  his  greatest  power. 


CIMABUE  TO   FRA   ANGELICO 


15 


An  example  of   this  is  "The  Virgin  Enthroned"   which 
may  be  seen  in  the  pubhc  palace  at  Siena,  and  in  which 


E.  HauteCLLur,  Phot. 


Salle  VII 


13S3.     The  March  to  Calvary.  — Mem  mi. 

there  remains  none  of  the  green  flesh-tint  peculiar  to  the 
Byzantine  school. 

Simone   Menimi   painted  in   clear  and   distinct   tones. 


Iti  IWINIINCS   Ol'   TIIK    LOrvUK 

'J'lu-  inovcMiiriits  arc  calm,  the  groupinj^  symmetrical,  ami 
the  expression  oi'  ciiiolioii  is  natural.  His  manner  was 
so  individual  and  so  firmly  ingrained  that  even  his  stay 
at  Assisi  and  Avi<rnon  as  successor  to  (liotto  made  no 
chani^e  in  it.  'I'his  is  plainly  to  he  seen  in  "The  March 
to  Calvary"  (No.  l.'JHS).  We  admire  the  fine,  miniature- 
Hke  execution,  the  vi<:;or  and  ])urily  of  the  tones  and  the 
expression  on  the  face  of  St.  Mary  ]\[a<fdalene.  But 
arran<:jement  and  comj)osition  were  not  within  the  ])ower 
of  Siena  at  this  period.  The  fi<fures  form  a  motley  ma.ss; 
they  are  simply  placed  one  beside  the  other,  and  the  de- 
tail. thou<,di  rich,  is  almost  overloaded.  Simone  Memmi 
succeeds  in  making  the  figure  of  Christ  the  centre  of 
the  composition  by  representing  Him  walking  while  the 
others  stand  still.  By  this  apparently  simple  artifice, 
the  figure  of  Christ  occupies  more  space,  and  it  is  also 
striking  by  reason  of  the  bright  red  tone  of  His  garments. 

Umbria,  Ferrara,  and  Bologna  almost  entirely  adopted 
the  manner  of  Siena,  namely,  fidelity  to  Byzantine  tradi- 
tions. The  same  applies  to  Pisa,  and  the  work  of  Turino 
Vanni  (end  of  14th  century),  in  his  "Virgin  and  Child" 
(No.  1563),  may  be  taken  as  an  example  of  the  art  of 
that  city  at  this  period. 

With  the  I.orenzetti  brothers,  of  whose  work  there  is 
no  example  in  the  Louvre,  the  painting  of  Siena  attained 
its  highest  point.  To  the  vigorous  drawing  of  Giotto  and 
the  flexible  action  of  Pisano  they  added  depth  of  sentiment. 
Their  pupils  and  successors  had,  perhaps,  their  skill,  but 
not  their  greatness.  We  see  this  in  Bartolo  di  ]\laestro 
Fredi's  (1330-1410)  "Presentation  in  the  Temple"  (No. 
1151),    which,    notwithstanding    the   delicate    execution, 


CIMABUE   TO   FRA   ANGELICO 


17 


E.  Hautecceur,  Phot.  Salle  Vll 

1151.      I'he  Presentation  hi  the  Temple.  —  Frtdi. 


especially  of  the  hair,  the  flexiliility  and  arrangement 
of  the  garments,  the  natural  attitude  of  the  Infant  Jesus, 
is  lacking  in  all  individual  character. 


18 


PAINTINGS   Ol'    TlIK    LOUVRE 


But  the  orif^inal  creative  power  of  Siena  was  soon  ex- 
hausted, and  tliere  was  a  return  to  the  primitive  manner. 
In  "St.  Peter"  (Xo.  115^2),  hy  Taddeo  di  liartolo  (l.S().'}- 
1422),  we  see  a  voluntary  return  to  the  old  archaism.  St. 
Peter's  proportions  arc  short  and  heavy,  there  is  no  vivid- 
ness in  the  colourin",^  and  a  monotonous  yellow  tint  pre- 
dominates.     The  full  face  figure  has  no  action. 

Sano   di   Pictro   (140.5-1481),  wrongly  called   the   Fra 


E.  111.. I      .i...r,  Pllut. 

11:?S.     The  Th-eani  of  Sf.  Jcrume.  — s<uio  di  rieiro. 

Angelico  of  Siena,  is  the  last  of  the  Epigones,  or  weak 
followers  of  great  predecessors.  His  greatest  ((uality 
was  his  indefatigable  diligence,  though  even  this  has 
been  questioned.  One  cannot  find  in  him  any  of  the  in- 
genuous rjualities  of  Fra  Angelico.  We  do  not  admire 
his  cycle  of  "The  Legend  of  St.  Jerome"  (Nos.  1128- 
1132)  where  the  pro})ortions  are  bad,  and  the  figures  are 
not  w^ell  grouped.  The  perspective  of  the  architecture 
in  No.  1128,  the  first  picture  of  this  series,  is  treated 
with  a  certain   mastery   and  forms  a  contrast   with  the 


CIMABUE   TO   FRA   ANGELICO  19 

stiff  simplicity  of  the  trees  in  No.  1130  which  seem  bor- 
rowed from  a  box  of  toys.  An  original  feature  of  Sano  di 
Pietro's  pictures  was  their  grey  fields,  brown  trees  and 
mountains  crowned  with  red  castles. 

It  was  not  until  the  end  of  the  sixteenth  century  that 
a  new  life  was  given  to  the  art  of  Siena  by  Sodoma  and 
Peruzzi. 

The  Florentine  school  and  the  followers  of  the  Gaddis 
would  have  fallen  into  similar  mannerisms  if,  shortly 
before  the  appearance  of  Masaccio,  of  whose  work  there 
is  unfortunately  no  example  in  the  Louvre,  the  old  art 
had  not  said  its  last  word  in  the  charming  and  harmonious 
works  of  Fra  Angelico. 

Angelico  was  preceded  by  Don  Lorenzo  Monaco  (1370- 
1425)  whose  "Picture  in  Three  Parts"  (No.  1348),  con- 
taining figures  of  St.  I.,awrence,  St.  Agnes,  and  St.  Mar- 
guerite, was,  even  at  that  early  period,  a  piece  of  beautiful, 
clear  and  bright  colouring.  Its  treatment,  though  not  en- 
tirely free,  is,  perhaps  for  that  very  reason,  not  less  warm 
and  charming.  In  "  The  Prayer  in  the  Garden  of  Olives  " 
(No.  1348a),  by  the  same  artist,  a  picture  in  two  parts, 
the  figure  of  Christ  with  the  sleeping  disciples  is  placed 
below  in  the  narrow  space  of  a  half  shutter,  and  this 
already  shows  a  power  of  concentration  and  grouping 
which  announces  the  coming  of  a  new  era. 

As  to  the  old  school,  it  comes  to  an  end  with  one  of  the 
most  charming  of  its  interpreters,  namely  Fra  Angelico. 


FRA  ANGELICO  TO  ANTONEI.LO  DA  MESSINA. 

\  l/l'IIOUGII  to  us  Era  Giovanni  da  Fiesolc,  called  il 
"^   Anfijelico  (1387-1455),  seems  to  represent  the  end  of  a 
lonfij  period  in  the  liistory  of  art,  he  is,  nevertheless,  the 
great  creator  of  a  new  epoch  in  his  power  of  <,dvinf]j  ex- 
pression to  sentiment  with  greater  delicacy  and  truth  than 
liis  predecessors.     Vasari  says  of  hini :  "  Tiiis  truly  angelic 
brother  consecrated  his  life  to  the   service  of  (Jod   and 
of  his  neiirhhour  and  held  himself  aloof  from  all  things 
worldly.     He  painted  all  his  life,  hut  was  never  willing  to 
paint  anything  hut  sacred  subjects.     'lie  who,'  Era  An- 
gelico  says,  'wishes  to  represent  the  w^orks  of  Christ  should 
always  live  in  the  society  of  Christ.'     What  he  painted 
he  did  not  retouch   nor  correct,  for  he  thought  that  God 
wished  it  to  remain  as  it  was.      It  is  said  that  he  never 
took  the  brush  in  his  hand  without  previous  prayer,  and 
that  he  never  painted  the  Crucifixion  without  tears  rolling 
down  his  face;  and  this  is  why  we  see  the  strength  and 
sincerity  of  his  faith  in  the  features  and  attitudes  of  his 
persons.     There  is  something  of  his  soul   in   everything 
that  he  did,  and  he  only  worked  when  under  the  influence 
of  divine  love." 

It  is  very  difficult  to  fix  upon  the  exact  period  in  which 
a  new  idea  is  l)orn.  Thus,  we  cannot  assign  a  precise 
date  to  the  disappearance  of  the  gold  background,  though 
this  is  of  no  great  importance.  Era  Angelico,  by  discard- 
ing this  artificial  adornment,  gave  to  his  pictures  the  ap- 
pearance of  air  and  space. 

20 


FRA   ANGELICO   TO    MESSINA 


21 


E.  Hautecceur,  Phot. 

1290.      The  Coronation  of  the  Virgin.  —  Fra  Angelico. 


Salle  VII 


This  we  see  in  "The  Coronation  of  the  Virgin"  (No. 
1200),  wlierc  the  deep  bhie  background  conveys  the 
iUusion  of  the  sky.  This  work  is  mentioned  by  Yasari 
as   one   of   Fra   AngeHco's    masterpieces.     Fra   AngeHco 


22  PAINTINGS   OF    THK    LOUVRE 

represented  the  scene  as  takino;  place  in  lieaven,  and 
the  incrcasin<i^ly  darker  shades  of  l)hje  seem  to  indicate 
other  ethereal  spaces  in  the  distance.  This  effect  Fra 
An<;clico  created  withont  effort.  The  tone  of  the  picture 
is  li<;^lit  and  brilliant,  and  blue,  red,  and  gold  shades  pre- 
dominate. On  a  high  throne  Christ  is  seated  majestic- 
ally, though  Avithout  severity,  and  His  inclination  toward 
the  Virgin  is  full  of  gentleness  and  filial  love.  The  Vir- 
gin seems  inspired  with  maternal  tenderness,  her  arms 
are  cros.sed  upon  her  bosom  and  she  affectionately  turns 
toward  her  Son  in  an  attitude  of  humilitv.  A  large  as- 
sembly  of  angels  and  saints  surrounds  the  throne;  some 
are  enraptured,  others  bow  humbly,  and  all  are  deeply 
interested  in  the  scene.  The  strings  vibrate,  the  viols 
resound,  and  the  trumpets  are  turned  to  all  parts  of  the 
heavens  in  praise  of  the  Lord  and  to  celebrate  the  crown- 
ing of  the  Mother  of  God.  The  trumpets  in  the  back- 
ground also  give  us  a  sensation  of  vast  distance  filled 
with  graceful  figures,  and  a  flood  of  happiness  emanates 
from  this  inspired  composition. 

We  experience  the  same  sensation  when  we  study  the 
predella,  or  accessory  scenes,  below  the  main  picture, 
representing  Christ  rising  from  the  dead  and  the  legend 
of  St.  Francis  executed  in  miniature.  Even  when 
Fra  Angelico  painted  tragic  scenes,  as  "The  Martyr- 
dom of  St.  Cosmo  and  St.  Damian"  (No.  T293),  he 
treated  the  subject  humanely.  For,  though  the  saint's 
head  is  separated  from  the  trunk  and  drips  with  blood, 
the  artist  spares  us  details  connected  with  the  executioner 
by  making  him  turn  his  back  upon  us.  He  also  makes 
the  picture  less  painful  by  placing  the  scene  in  a  charm- 


FRA  ANGELICO  TO   MESSINA 


23 


inpj  landscape.  When  he  was  not  treating  scenes  laid 
in  heaven,  he  simply  imitated  the  manner  of  Giotto,  as  in 
"The  Beheading  of  St.  John  the  Baptist"  (No.  1291). 
Interior  subjects  and  tragic  scenes  were  not  congenial 
to  him  since  they  did  not  allow  of  any  landscape.     His 


E.  Haiitecneur,  Plio».  Salle  VII 

1291.     The  Beheading  of  St.  John  the  Baptist.  —  Fra  Angeiico. 

domain  was  the  clear  and  radiant  sky.  This,  again, 
we  see  in  "  The  Resurrection "  (No.  1294  a)  where  the 
Redeemer  is  represented  in  all  His  majesty,  robed  in  an 
ample  white  garment,  with  eyes   raised  to  heaven. 

It  is  not  alisolute  truth  which  we  find  in  the  work  of 
Fra  Angelico,  but  relative  truth.  It  is  the  perfect  har- 
mony of  his  sentiments,  together  with  his  manner  of  treat- 


24  PAINTINGS   OF   THE   LOTVRE 

in^'  subjects  sympathetic  to  liiin,  wliicli  constitutes  tlie 
real  value  of  his  work.  Tliis  is  why  Fra  An<rehco's  work 
conveys  a  simple  and  natural  impression.     His  composi- 


E.  Hautecutur,  I'liot.  Salle  Vll 

1397.     The  Virgin  and  Child.  —  Xeri  di  Bicci. 

lion  is  not  artificial  and  tlie  effect  is  artistic,  for  lie  had 
the  temperament  of  a  true  artist. 

All  the  other  artists  of  the  school  of  Gaddi,  in  com- 
parison with  Fra   Angelico,  seem  simple  artisans.      Xeri 


FRA  ANGELICO   TO   MESSINA  25 

di  Bicci  (1419-1491),  is  an  example  of  this,  as  may  be 
seen  in  his  "Virgin  and  Chihl"   (No.   1397). 

The  art  of  Florence  was  at  a  deadlock,  and  an  original 
genius  was  necessary  to  avert  the  danger  of  a  return  to 
archaism  such  as  took  place  at  Siena.  Such  a  genius  was 
Masaccio  (1401-1429).  He  represented  an  evolution  in 
the  power  of  giving  expression  Avhich  was  to  serve  not 
Florentine  art  alone,  l)ut  all  schools  and  all  times.  He 
was  a  pupil  of  Masolino;  he  studied  perspective  with 
Brunelleschi,  art  with  Donatello,  and  mathematics  with 
INIanetti.  His  strong  individuality  was  able  to  assimilate 
all  these  branches  of  knowledge,  and  he  was  an  accom- 
plishetl  master  at  the  age  of  twenty.  Unhapj)ily  his  ca- 
reer was  cut  short  at  the  age  of  twenty-eight,  and  he  died, 
ruined  by  del)ts  and  in  misery,  in  1429.  His  best  works 
are  in  the  Brancacci  (^hapel  at  Florence. 

Unfortunately  there  are  none  of  ^lasaccio's  works  in  the 
Louvre,  but  the  most  characteristic  picture  of  his  school 
is  "The  Entrance  of  Pope  Martin  V  into  the  Castle  of 
St.  Angelo"  (No.  1659  a).  The  qualities  which  charac- 
terise the  manner  of  jVIasaccio  are  only  vaguely  indicated 
here  and  do  not  adequately  show  the  progress  attained. 
The  cjualities  peculiarly  his  were  strength,  natural  beauty 
of  form,  realism  in  the  action  of  the  figures,  sincerity  of 
expression,  dignity  of  gesture,  flexible  amplitude  and  rich- 
ness in  the  treatment  of  drapery.  To  these  must  be  added 
a  very  important  element,  the  treatment  of  shadows,  which 
alone  makes  the  representation  of  relief  on  a  flat  surface 
possible.  This  enabled  him  to  introduce  perspective  into 
his  landscapes  and,  thus,  to  deal  with  the  question  of  hori- 
zon. These  are  the  conquests  which  Masaccio  has  be- 
queathed to  posterity. 


26  PAINTINGS   OF   TIIK   LOUVRE 

The  times  in  which  Masaccio  Uvcd  were  full  of  action, 
innovation  and  contradictory  aspirations.  By  the  side 
of  the  gentle  art  of  Fra  Angelico  and  of  the  classical 
realism  of  Masaccio,  we  find  the  simple  observation  of 
nature  which  characterises  Paolo  Uccello  (1397-1475). 
He   began    by   being   a  sculptor  and   only  made  use  of 


E.  HauteCLLHir.  Pilot 


Salle  \-lI 


li273.     A  Battle. 


/'(Kilo  rccfiio. 


painting  in  order  to  study  the  problems  of  perspective 
and  make  other  experiments.  This  fact  we  see  illustrated 
in  his  picture  "  A  Battle  "  (No.  1273),  for  the  figures  stand 
out  from  the  surroundings,  without  any  distribution  of 
light,  like  silhouettes  on  a  black  background.  The  faces 
show  no  trace  of  life,  for  the  problem  of  expression  did 
not  interest  him.  On  the  other  hand,  his  power  of  obser- 
vation is  remarkable,  as  may  be  seen  in  his  treatment  of 
the  horses.  The  palfreys  in  the  foreground  rear  and  turn 
their  heads  violently  to  one  side,  and  this  constitutes  a 


FRA  ANGELICO   TO   MESSINA  27 

picturesque  problem  in  perspective.  The  same  applies 
to  the  horses  in  the  background  on  the  right,  with  their 
varied  positions  and  the  confusion  of  their  limbs.  All 
this  is  produced  without  any  concern  for  beauty  which  is 
outraged  by  the  long,  straight  lances  which  traverse  the 
picture.  Thus,  in  the  first  half  of  the  jfifteenth  century, 
we  find  ourselves  in  the  presence  of  a  brutal  realism 
born  of  a  deep  and  irresistible  desire  for  truth  and  a 
too  careful  observation  of  detail. 

Problems  such  as  these  alone  interested  Paolo  Uccello. 
The  picture  (No.  1272)  in  which  he  represented  himself  in 
company  with  Giotto,  Brunelleschi,  Donatello,  and  ^la- 
netti  shows  his  weak  points  rather  than  his  good  qualities. 
The  features  are  hard,  and  Uccello  does  not  seek  to  repre- 
sent character,  but  rather,  if  we  may  say  so,  to  give  us  a 
photograph.^ 

^Vllile  Uccello  was  thus  trying  to  solve  certain  problems, 
and  while  Fra  Angelico  was  producing  his  works  full 
of  charm  and  devotion  in  the  silence  of  the  cloister,  an- 
other monk  of  a  very  different  temperament  was  develop- 
ing art  from  the  point  where  Masaccio  had  left  it.  This 
was  Fra  Filippo  Lippi  (1406  .'-1469),  a  characteristic  type 
of  his  period.  Unlike  Fra  Angelico,  he  did  not  paint 
for  the  glory  of  God,  but  because  he  loved  art  and  nature 
for  their  own  sakes.  He  was  an  orphan  at  an  early  age 
and,  as  an  inmate  of  the  Convent  of  the  CarmeHtes, 
probably  assisted  Masaccio  in  the  decoration  of  the 
Brancacci  Chapel.  From  this  monastery  he  fled  and, 
after  many  changes  of  fortune,  married  the  nun,  Lucretia 
Buti.  But,  notwithstanding  his  irregularities,  he  was 
powerfully  protected  because  of  his  talent. 


iiS 


PAINTINGS   OF    THK   LOUVRE 


Tn  rolifrious  siil)ject.s,  as,  for  instance,  in  his"  Virgin  and 
Infant  Jesus"  (No.  1344),  he  confined  liiinself  to  the  treat- 
ment o"  the  foref^round  in  order  to  avoid  tlie  problem  of 
perspective.    The  Virgin  is  no  longer  celestial,  as  with  Fra 


Hraun,  Clement  S;Cie.,  Phut.  S.illc  \'II 

1344.      The  V^irgin  and  Ii/fdiit  Jesus.  — Liiqii. 

Angelico,  but  of  this  earth,  notwithstanding  her  ideal 
expression  and  the  graceful  oval  of  her  face.  Her  pose 
is  easy,  with  one  knee  slightly  turned  to  the  side — a  posi- 
tion which  Filippo  Tiippi  par'.icularly  affected,  and  Avhich 
may  be  noticed  in  the  angel  on  the  left.  Among  modern 
painters,  Burne-Jones  has  borrowed  this  detail.  The 
Virgin  holds  the  Child  lightly  pressed  against  her,  yet 


FRA   ANGP:LIC0   to    MESSINA  29 

the  element  of  weight  seems  disregarded  and  He  appears 
to  float.  Tliis  artifice  is  also  used  by  Michael  Angelo 
in  his  treatment  of  the  tomb  of  the  Medicis.  The  two 
monks  in  Lippi's  picture  have  very  distinct  characteris- 
tics. The  one,  with  a  grave  and  stern  expression,  shows 
himself  to  be  an  ascetic;  while  the  other,  with  his  gentle 
look,  is  of  a  softer  nature.  On  all  sides  are  grouped 
angels  with  no  particular  expression  of  piety,  round- 
faced  children  of  this  earth,  some  of  them  not  even  taking 
any  interest  in  the  scene.  But  peace  reigns  throughout 
the  composition,  the  shading  is  well  done,  the  drapery 
falls  gracefully,  and  the  whole  makes  us  vmderstand  the 
admiration  which,  according  to  Vasari,  Lippi's  contempo- 
raries felt  for  his  work. 

With  Filippo  Lippi  begins  that  familiar  representation 
of  the  Holv  Familv  from  which  religious  and  mystic  ele- 
ments  disappear,  antl  something  purely  human  takes  their 
place.  The  art  of  Raphael  is,  as  we  know,  the  most  per- 
fect expression  of  this  new  spirit. 

We  see  this  human  element  again  in  "The  Nativity" 
(No.  1343),  mentioned  by  Vasari  and  attributed  to 
Pesellino  by  Crowe  and  Cavalcaselle."  Here  is  a  wide 
and  charming  landscape  enlivened  by  a  river.  A  town 
and  lake  appear  in  a  l)ackground  which  is  studded  with 
wooded  hills  and  intersected  by  valleys  which  allow  glimp- 
ses into  the  distance.  In  the  foreground  in  the  midst  of 
the  ruins  of  a  house  is  a  thatched  hut  and  a  stable  con- 
taining an  ox  and  an  ass.  Before  these  the  Virgin  is 
leaning  over  the  Child  in  an  attitude  of  love  and 
adoration,  while  St.  Joseph,  to  the  right,  observes 
Him  with  a  stern  look  of  amazement.     The   Child   lies 


30 


I'AINriXC.S   Ol'   TIIK   LOUVRE 


in   llie  centre  of  the  j)icturc  between  the  Virgin  and  St. 
Joseph  and  a  curious  detail   may  be  noticed  in  the  fact 


li.  ILiutOLUtur,  Pliut. 


Salle  Vn 


1.143.      Ths  Xuflnty.  —  Lippi. 


that  the  edges  of  their  garments,  passing  under  the  body 
of  the  Infant,  form  the  couch  on  which  He  hes.  The  sim- 
phcity  of  the  landscape  and  general  details  of  the  picture 
accentuate  the  importance  of  the  principal  scene,  as  com- 


FRA   ANGELICO   TO    MESSINA  31 

pared  with  the  rest  of  the  composition.  A  shepherd,  in 
the  middle  distance,  plays  the  flute  in  the  midst  of  his 
flock,  and  three  others,  in  a  far  part  of  the  landscape, 
are  engaged  in  animated  conversation.  The  Child  is  not 
a  Divine  Being,  but  a  human  cliild.  His  cheeks  are  rosy, 
and  he  has  His  little  fingers  in  His  mouth  like  all  other 
babies.  The  Virgin  also  is  entirely  of  this  world,  not- 
withstanding the  presence  of  the  two  angels  giving  their 
blessing  from  above  and  of  the  dove  representing  the 
Holy  Ghost.  As  befits  a  scene  in  the  open  air,  the  tones 
of  the  picture  are  light  and  clear,  gi^'ing  the  whole  com- 
position a  graceful  and  cheerful  appearance,  in  spite  of 
the  many  elements  which  figure  in  it.  This  is  not  a 
picture  representing  mysticism,  but  only  earthly  joy  and 
happiness. 

The  influence  of  Fra  Filippo  Lippi  on  his  contem- 
poraries was  immense.  He  was  essentially  worldly,  and, 
in  his  time,  worldliness  permeated  the  higher  clergy  no 
less  than  tlie  rest  of  the  community.  The  unknown 
painter  of  ''The  Virgin  and  Infant  Jesus"  (No.  1G61  a), 
in  the  same  room,  imitates  him,  without  any  personal 
characteristic.  He  has  borrowed  from  Fra  Filippo  Lippi 
the  full  arch  which  frames  the  Virgin,  the  soft  oval  of 
her  face,  the  graceful  manner  in  which  she  supports  the 
feet  of  the  Child  and  also  the  way  in  which  the  blues  and 
reds  are  placed  side  by  side.  But  the  colour  and  drawing 
are  weaker  and  less  individual  than  with  I^ippi. 

Among  the  best  disciples  of  this  school  was  Stefano 
Pesellino  (14'2'2-14o7),  and  the  influence  of  Lippi  on  his 
work  was  remarkably  blended  with  archaic  elements. 
"The  Stigmatisation  of  St.  Francis"  (No.  1414),  a  picture 


32 


rAINIINC.S   OF   THE   LOUVRE 


in  two  parts,  seem  to  be  Ijorrowcd  from  Giotto.  Pcsel- 
lino  died  yoim<^,  and  duriii<f  liis  sliort  life  his  eneri^ics 
were  always  directed  to  technical  problems  connected 
with  paints  and  Iheir  solvents,  subjects  which,  before 
the  introduction  of  paintini;  in  oils,  a  tracted  much  atten- 
tion in  Italy.     Traces  of  his  cxj)erimenls  are  to   he  .seen 


I 


liraiin,  Cl.nic-nt  .V  CA/-..  I'hnt.  SnUr  V\l 

1414-      The  Stiff matmitloii  i>/ Sf.  Francis.  —  Pixe/lino. 

in  his  colounii<ij  which  is  always  heavy  and  dark.  The 
same  characteristics  are  found  in  the  second  panel  of  the 
same  picture,  "St.  Cosmo  and  St.  Damian  Minis'erino;  to 
a  sick  Person."  Little  that  is  worthy  of  Pesellino  is  to 
be  seen  in  his  other  work,  "  The  Dead  Christ  "  (No,  1415), 
a  picture  in  three  parts. 

We  have  now  arrived  at  the  j^oint  where  tlic  deej)  re- 
ligious feeling  of  Fra  Angelico  and  the  worldly  character- 
i.stics  of  Filippo  Lippi  were  blended.  This  fusion  took 
place  in  :he  .school  of  Benozzo  Gozzoli  (l-t!24-after  149()). 
Influenced  by  the  pious  Fra  Angelico,  he  w'ithdrew  from 
the  world  and  retired  to  the  solitude  of  ^Slontefe'tre.  "  The 
Virgin  Surrounded  by  Saints"  (No.  13'-2()),  with  predella 
and  side  pictures,  is  not  by  him,  but  Avas  inspired  by  him. 


FRA   ANGELICO   TO   MESSINA  33 

The  influence  of  Fra  Angelico  is  visil)le  in  the  faces  of  the 
Virtjin  and  Child,  in  the  treatment  of  the  hght  blue 
garment  with  yellow  borders  antl  in  the  sweetness  and 
softness  of  the  faces  in  the  background,  as  well  as  in  the 
large  halos  and  gilded  ornaments.  St.  Thomas,  on  the 
right  side  of  the  picture,  wears  an  expression  of  gentle- 
ness characteristic  of  Fra  Angelico's  manner ;  but  the  three 
other  saints  in  the  foreground,  St.  Francis,  St.  John,  and 
particularly  St.  Jerome,  have  an  energy  of  expression  more 
afterthe  manner  of  Fra  Filippo  Lippi.  This  is  an  excellent 
example  of  the  fusion  of  the  schools  of  Fra  Angelico  and 
Fra  Filippo  Lippi.  The  landscape  and  the  rich  foliage 
of  the  bushes  in  the  background  afterwards  inspired 
Lippi's  industrious  pupil,  Sandro  Botticelli.  The  little 
pictures  which  surround  the  composition  again  reveal, 
by  the  dominating  light  blue  colouring,  the  influence  of 
Fra  Angelico.  A  lingering  love  for  the  archaic  caused 
the  artist  to  introduce  this  element  into  the  picture  there- 
by reminding  us  of  Fra  Angelico's  "^Martyrdom  of  St.  Cos- 
mo and  St.  Damian  "  (Xo.  1293)  and  of  his  "  Resurrection" 
(No.  1294;  a)  both  of  which  we  have  already  considered.^ 
Benozzo  Gozzoli  was  not  a  seeker  nor  an  innovator 
and  only  blended  the  characteristics  he  found  existincr  and 
made  them  harmonious.  "  The  Triumph  of  St.  Thomas 
Aquinas"  (Xo.  1319),  considered  his  best  picture,  is  the 
one  which,  perhaps,  least  shows  his  characteristics,  for  he 
imitated  a  peculiar  composition  created  by  Traini.  St. 
Thomas  is  enthroned  between  Plato  and  Aristotle,  with 
his  adversary  vanqu'shed  at  his  feet:  while,  in  the  lower 
part  of  the  picture,  we  see  the  assembled  clergy  pro- 
claiming the  glory  of   the    saint.     The  face,   as   a  por- 


34  PAI\  IINC.S    OI'    rill-:    LOUVRE 

trait,  is  treated   in   a  iiiaslerly  niamici-.      TJic  eyelids  arc 
lieavy,   and   llie   llioiigliU'uI   hrow   is   lined   with   wrinkles. 

The  natural  expressions 
of  the  l-'alhers  of  the 
Church  are  also  remark- 
able, althon<;h  the  simi- 
larity of  their  |)f)sitions 
and  the  manner  of  group- 
ing so  many  j)ersons  in 
so  small  a  space  show 
that  the  knowledire  of 
concentration  had  not  yet 
been  mastered. 

Lessing,  the  great  Ger- 
man seeker  after  truth, 
has  written:  "If  God 
were  to  address  me,  say- 
ing, 'In  the  one  hand  I 
hold  the  Search  for  Truth, 
in  the  other  Truth  itself. 
Choose  between  the  two ' 
—  I  would  bow  down 
and  say,  '  Lord,  to  Thee 
alone  belongs  Truth.  We 
can  only  seek  it.' "  It  is, 
perhaps,  this  very  senti- 
ment Avhich  makes  us  so 
appreciative  of  the  im- 
mense efforts  which  the 
fifteenth  century  made  to  reproduce  nature  and  to  ex- 
press human  emotion.     The  curtain  rose  slowly,  but  we 


E.  Ilautccujiir,  Pilot 

1310 


Salle  \1I 


The  Triumph  of  St.  TltmiKis 
A(pt'nins.  —  Oozzoli. 


FRA  ANGELICO   TO   MESSINA 


as 


see  that  every  artist  assimilated  any  innovation  made  by  his 
predecessor  and,  in  his  turn,  improved  upon  it,  for  art  Uke 
nature  does  not  develop  in  leaps  and  bounds,  but  gradually. 


E.  Hautecuur,  rhot.  Salle  \'II 

1300  B.     The  Virgin  and  Child.  —  Piero  di  Francesea. 

It  is  only  in  little  details  that  we  are  able  to  trace  the 
strenuous  efforts  made  by  some  of  these  men,  as,  for  in- 
stance, in  the  case  of  Alessio  Baldovinetti  (1427-1499), 
whose  somewhat  unsuccessful  technical  experiments 
doomed  his  work   to  early  oblivion.     As  far  as  we  can 


:iG  1' A  IN  iiN(;s  oi'   riii,  i.orvuK 

jiid^o  oi'  him  1)\'  what  I'cniaiiis  of  liis  woi'k,  \\v  was  a  cold 
and  detormined  ivahst,  with  <^n'at  ])()\\rr  ol"  observation; 
rather  a  seeker  after  art  than  a  true  artist.  It  is  this 
which  inchnes  us  to  attribute  to  him  a  })icture,  "The 
Virgin  and  Child"  (No.  1800  n)  which  hears  the  signa- 
ture of  Piero  della  Francesca  (14^23-1-492).  The  Virgin 
gently  bends  forward  and  contemplates  the  Divine  Child. 
Tlie  colour  of  the  face  of  the  Virgin  is  cold  and  clear,  as 
is  the  scheme  of  the  whole  picture,  recalling  the  even  tones 
of  the  pictures  of  the  past.  A  scarcely  j)erceptible  smile 
plays  on  her  features.  The  Child  is  nmch  too  small  to 
be  in  harmony  with  the  ensemble  and  has,  furthermore, 
the  serious  and  intelligent  look  of  an  adult.  There  is 
nothing  here  of  the  penetration  and  charm  of  Filippo 
Lipj)i,  for  the  problems  studied  by  Baldovinetti  were  only 
those  of  colour  and  perspective.  Thus,  the  red  cushion  con- 
stitutes the  striking  feature  of  the  picture,  and  the  gauze 
which  covers  it  shows  delicacy  of  treatment.  The  vanish- 
ing point  is  placed  far  enough  away  for  us  to  discern  a 
va.st  extent  of  landscape.  The  vegetation  is  too  minutely 
realistic,  and  the  trees  are  placed  too  far  in  the  background, 
but  the  atmosphere  is  very  transparent,  giving  lightness 
and  freedom  to  the  composition. 

Verrocchio  (1435-1488)  was  destined  to  furnish  the 
last  element  necessary  to  the  development  of  fifteenth 
century  art.  Though,  at  first,  only  a  sculptor,  his  knowl- 
edge of  the  Arts  and  Sciences,  as  they  then  existed, 
seems  to  have  been  complete.  This  knowledge  he  im- 
parted to  Lionardo  da  Vinci,  to  Perugino  and  Lorenzo 
di  Credi.  That  his  hand  Avas  accustomed  to  hard  metal 
and  the  chisel   is  shown  by  his  energy  in  the  handling 


FRA   ANGELICO   TO   MESSINA 


37 


E.  Hautecceur,  Phot. 


Salle  VII 


148'^.     Thb  Virgin  in  Glory.  —  Venocchio. 


of  the  brush,  and  his  theoretical  researches  and  the 
conscientiousness  with  which  he  studied  his  subject  gave 
to  his  drawing  the  clearness  of  carving.  As  Vasari  says: 
"  One  sees  that  his  precision,  which  borders  on  hardness, 
is  the  result  of  indefatigable  studv  rather  than  of  obser- 
vation  of  nature,  or  the  outcome  of  a  natural  gift."     A 


.ss  I'AiNiixGS  ov   riii-.  I.orVRK 

iiiMii  of  W'lTocliio'.s  acquirements  was  hoiii  to  ho  id  the 
head  of  a  scliool. 

As  a  sculi)tor,  lie  was  the  (rreatest  oi"  the  successors  of 
Donatello,  but,  as  a  j)aiiiter,  his  works  were  too  hard,  a 
defect  which  aj)j)ears,  for  instance,  in  his  treatment  of 
horses,  which  liave  a  look  of  l)ein<^  flayed. 

"The  ^'ir<,riI,  in  (Jlory"  (Xo.  148^2),  which  we  must 
attribute  to  Verrocchio,  presents  all  the  characteristics 
of  his  works.  This  picture  was  formerly  attributed  to  Ro- 
selli  di  Lorenzo  Filippo  (1439-1507)  and,  by  some  critics, 
to  Cosimo.  In  a  blue  sky,  the  Vir<i;in,  seated  on  a  tlironc, 
is  surrounded  by  rays  of  light  in  the  midst  of  which  float 
the  heads  of  angels.  She  offers  a  piece  of  fruit  to  the 
Child,  whose  expression  is  severe  and  earnest.  He  stands 
upon  her  knee  and  turns  toward  St.  Anthony  who  con- 
temj)lates  Him  Avith  devotion,  while  St.  ]\Iary  the  Egyp- 
tian kneels  in  humble  ecstasy.  On  the  sides,  angels, 
whose  garments  and  attitudes  indicate  rapid  flight,  seem 
to  stop  suddenly  before  the  Virgin.  This  remarkable 
work  is  a  many-sided  problem.  The  robes  of  the  saints 
have  the  distinctness  of  enamel,  with  heavy  shadows  in 
the  folds;  the  hair  of  ISIary  the  Egyptian  is  as  if  carved 
in  bronze,  and  the  heads  of  the  angels  are  like  fine  pieces 
of  jewelry.  All  this  bears  witness  to  the  influence  which 
the  sculptor  element  in  Verrocchio  had  on  his  painting. 
The  severe  beauty  of  the  Virgin's  face,  and  the  variety  of 
expression  on  the  faces  of  the  angels  have  another  origin ; 
for  they  have  something  of  the  manner  of  Botticelli, 
while  the  Infant  Jesus  irresistibly  recalls  the  simple 
grandeur  of  Boltraffio.  The  brilliancy  of  the  colours  is 
due  to  their  juxtaposition  rather  than  to  their  own  values. 


FRA   ANGELICO   TO   MESSINA 


39 


E.  HautcLcjLur,  Tliot.  Salle  VII 

1263.      The  Vir<jin  and  Child.  — Lorenzo  di  Credi. 

The  influence  of  Verrocchio  is  only  slightly  seen  in  a 
picture  of  his  school,  otherwise  of  little  merit,  "Esther 
before  Ahasuerus"  (No.  1943  a)  and  consists  in  the 
careful  modelling  of  the  garments  of  the  persons  in 
movement.*  As  Verrocchio  produced  little  himself, 
we  can  best  judge  of  him  from  the  work  of  one  of  the 
most  important  of  his  numerous  pupils,  Lorenzo  di  Credi 
(1459-1537)  who  has  most  faithfully  preserved  his  manner. 


K)  I'AINI'INC.S   OK    rilK    LOIVUE 

Tlu'  L()U\n>  possesses  in  "The  \'ir^iii  iiiul  ("liikl  with  St. 
Jiilijiii  and  St.  Nicholas"  (No.  !";?(!;{),  ji  work  in  which, 
aceordiuf^  to  Vusari,  Lorenzo  (M  (  rciH  surpassed  himself. 
The  di'tails  are  of  a  ])ainful  minuteness  and  seem  to  have 
the  j)olish  of  ivory;  the  drawing  is  rigorously  correet, 
hut  the  modelling  of  the  faees,  especially  that  of  St.  Nich- 
olas, is  of  a  metallic  hardness.  There  is  here  a  singular 
hli'iiding  of  (liircrcnt  influences,  as  if  the  manner  of  the 
various  pupils  of  \'errocchio  were  united  in  one  num.  The 
face  of  the  Virgin  wears  the  sweet  expression  peculiar  to 
Perugino,  and  St.  Julian,  by  his  contemplative  look  and 
by  the  inclination  of  the  body,  recalls  the  great  Francia 
of  liolotrna.  Lorenzo  di  Credi  was  not  a  marked  innova- 
tor,  otherwise  he  would  not  have  allowed  St.  Julian  and 
St.  Nicholas  to  shut  out  the  landscape,  neither  would  he 
have  permitted  the  grey  and  monotonous  wall  to  withdraw 
attention  from  the  Virgin  who  is  the  principal  figure  of  the 
composition. 

It  is  easy  to  exaggerate  the  importance  of  such  a  pic- 
ture and  the  talent  of  the  artist.  His  "Noli  me  tan- 
gere"  (No.  V26i)  enables  us  to  form  a  more  correct 
judgment.  Here,  again,  are  the  j)olIsh,  the  precision  and 
careful  execution  of  enamel,  but  breadth  of  drawing  and 
concentration  of  the  different  elements  are  lacking;  for, 
though  tlie  landscape  has  charm  and  brightness,  the 
scattering  of  the  sul)jects  seems  to  make  of  the  picture 
two  different  compositions. 

In  tlie  fifteenth  century  each  decade  seemed  to  bring 
forth  a  great  man,  but  there  is  one  who  is  particularly 
associated  with  the  latter  part  of  that  century,  Sandro  Bot- 
ticelli (l-i-iG-1510).     He  put  into  his  pictures  a  spiritual 


FRA  ANGELICO  TO   MESSINA 


41 


element  unknown  and  unsuspected  before.  He  has  not 
the  brilliant  manner  of  Ghirlandajo,  nor  the  worldly  lan- 
guage of  Filippo  Lippi,  but  a  treatment  all  his  own,  full 


E.  Hautecoeur,  Phot.  ^^^^^^"^^^"^  Salle  VII 

1295.      The  Virgin  writing  the  Magnificat. — Botticelli. 

of  mysticism  and  beauty  drawn  from  his  very  soul.  In 
his  pictures,  slender  figures  of  maidens  appear  in  all  their 
severe  grace,  with  mysterious,  earnest  expressions,  while 
fields  of  fantasy  and  fairy-like  splendour  are  drawn  from 
the  strange  world  of  dreams. 


42  I'AINriNC.S   OK   TIIK    LOUVRE 

Little  is  known  of  liotticelli's  life.  lie  was  born  in 
Florence  and  was  already  fainons  when  his  master,  Fra 
Fili|)j)o  Lij)j)i,  died  in  1  Kii).  lie  was  called  by  Pope 
Sixtus  IV  (1470-1484)  to  decorate  the  Sistine  Chapel  in 
Rome.  At  a  certain  period  of  his  life,  a  great  chaiifije 
took  j)lace  in  the  nature  of  Botticelli,  l)nt  it  is  difficult  to 
state  the  precise  moment.  It  may  have  been  durinf^  his 
stay  in  Rome,  but  it  is  more  likely  that  it  was  due  to  the 
influence  of  Savonarola  after  his  return  to  Florence. 
The  fierce  indi<ijnation  preached  by  this  monk  against 
the  world  seems  to  have  had  an  influence  on  all  Botti- 
celli's later  creations.  His  Virgins,  formerly  dreamy  and 
mystical,  became  forbidding,  almost  stern.  Botticelli  has 
been  only  recently  appreciated,  but  modern  criticism  has 
placed  him  in  the  front  i-aiik  of  great  artists  and  has 
taught  us  the  value  of  his  work.  '*  The  Virgin  Writing  the 
Magnificat"  (So.  1295)  is  a  contemporary  copy  of  the 
original  in  Florence  and  is  one  of  his  finest  productions. 
One  angel  offers  her  a  book  and  ink  into  which  she  dips  a 
pen,  while  another  holds  a  crown  above  her  head.  Her  eyes 
are  sad  and  serious,  as  if  she  foresaw  all  the  suffering  to 
come;  and  the  Child  upon  her  knees  touches  her  arm 
lightly  and  raises  His  eyes  with  a  look  of  sympathy 
and  comprehension.  The  hair  of  the  Virgin  and  angels 
reminds  us  of  the  jeweller's  art  which  Botticelli  first 
learned.  His  ideal  of  beauty,  in  this  and  other  works, 
seems  to  consist  in  a  long,  oval  face  with  clear-cut  chin 
somewhat  square  at  the  extremity.  The  circular  shape 
of  this  picture,  as  well  as  the  close  grouping  of  the  figures 
is  remarkable.  The  picture  is  not  cramped,  for  the  land- 
scape suggests  space  and  gives  it  an  impression  of  ease 
and  freedom. 


FRA   ANGELICO  TO   MESSINA 


43 


E.  Hautecoeur,  Phot. 


Salle  VII 


1296.     The  Virgin,  the  Infant  Jesus  and  St.  .John.  —  Bottieelli. 

Another  work  by  Botticelli,  "The  Virgin,  the  Infant 
Jesus  and  St.  John"  (No.  1296),  is  full  of  the  same 
note  of  sadness.     The  graceful  motion  with  which  the 


44  PAIXriXGS  OF   Till-:   LOUVRE 

\'ir<,nM  iMK'irc'lcs  tlie  Child  standing  on  her  kiict'  and  Ihe 
look  of  |)ily  she  casts  on  Ilini,  reveal  the  intensity  of  her 
love.  The  Child  j^ently  caresses  His  Mother  as  if  He 
wished  to  coint'ort  Jier  lor  the  calamities  which  are  to 
come,  and  as  if  He  desired  to  make  her  know  that  His 
snli"erin<r  was  to  be  for  the  salvation  of  the  world.  This 
work  is  drawn  from  the  very  soul  of  the  artist,  and  the 
wistful  look  with  which  St.  Jo! in  observes  us  seems  to 
ask  if  we  too  are  not  touched.  This  little  ri<fure  is,  ])er- 
haps,  the  most  beautifnl  in  the  composition.  Here,  also, 
arc  a  clear  blue  sky  and  delicate  flowering  bushes,  em- 
blems of  hoj)e. 

Other  works  of  Botticelli  show  clearly  how  much  his 
talent  was  in  danger  of  suffering  from  an  exaggerated 
sentimentality.  His  power  in  the  representation  of  move- 
ment and  floating  drapery  is  seen  in  the  frescoes  from 
the  Villa  Lemmi  (No.  1297),  now  on  the  Escaher  Daru 
opposite  the  Flying  Victory  of  Samothrace.  On  the  other 
hand,  his  ability  to  represent  individual  types  is  very. man- 
ifest in  the  masterly  "Portrait  of  a  Man"  (No.  1G63) 
which,  though  not  attributed  to  him,  can  be  by  no  one 
else.  Here,  the  severe  face  and  compressed  lips  show  de- 
termination of  character,  the  eyes  have  a  steely  look,  and 
the  modelling  of  the  cheeks  is  admirably  clear.^  We 
see  that  the  subject  of  this  picture  knew  his  own  mind 
and  knew  how  to  bend  others  to  it,  and,  in  order  to  give 
further  expression  to  this  characteristic,  the  tone  of  the 
picture  is  metallic  and  almost  cold. 

Mourning  and  mystic  sadness  were  peculiar  to  Botti- 
celli alone,  for  we  see  no  trace  of  them  in  the  works  of 
his  contemporaries.     For  instance,  in  "The  Virgin  and 


FRA   ANGELICO   TO    MESSINA  45 

Child"  (No.  1300a)  probably  by  an  unknown  master, 
the  figures,  the  grouping  and  even  the  coloviring  are  in 
the  manner  of  Botticelli,  but  the  Child  is  a  child  of  this 
earth,  and  the  features  of  the  Virgin  do  not  express 
yearning  and  sadness,  but  joy  and  repose.  The  angels 
have  nothing  hard  nor  clean-cut  reminding  us  of  the 
jeweller. 

Even  prior  to  the  influence  of  Savonarola,  Botticelli 
never  sufficiently  felt  the  charms  of  the  anticjue  to  make 
him  paint  statuesque  figures.  When  he  represented 
Greek  mythological  subjects,  he  remained  purely  Floren- 
tine. "  The  Reposing  Venus  "  (No.  1299),  so  characteris- 
tic of  his  manner,  though  surely  not  painted  by  him,  is  a 
work  of  his  school  and  still  remains  the  ideal  of  Floren- 
tine beauty.  The  colouring  is  pale,  almost  green;  the 
picture  is  empty,  but  the  type  of  face  is  distinctly  that  of 
Botticelli,  the  type  imitated  in  the  nineteenth  century  by 
Burne-Jones. 

In  Domenico  Ghirlandajo  (144'9-14'94)  all  the  in- 
fluences of  the  fifteenth  century  are  united.  He  was  a 
pupil  of  Alessandro  Baldovinetti  and  in  him  are  con- 
centrated the  grandeur  of  Masaccio,  the  movement  of 
Verrocchio  and  the  joyousness  of  Filippo  Lippi.  His 
energies  Avere  such  that  he  wished  to  decorate  in  fresco 
all  the  walls  of  the  fortifications  of  Florence. 

He  resembled  Masaccio  and  Michael  Angelo,  in  that  he 
could  find  full  expression  only  in  large  frescoes.  In  "  The 
Visitation"  (No.  13"21),  dated  1491,  the  Louvre  possesses 
one  of  the  best  of  his  works.  The  composition,  though 
apparently  simple,  is  exceedingly  studied.  The  Virgin 
bends  toward  St.  Elizabeth  who  is  kneeling  before  her, 


4f) 


PAIXIINGS   OF   THE    I-OIVRE 


while  there  is  a  vouiii'  woman  on  either  side.  The 
])rol»kMii  to  1)0  solved  was  how  to  <i:ive  iniportanee  to 
the  two  eeiitral   stooj)in<;  fi<;ures  as   contrasted  with  the 


E.  Hautecocur,  Phot. 


Salle  Vil 


1321.      The  Visitation. — D.  Gtiirlandajo. 


two  persons  standing  erect.  Ghirlandajo  obtains  this 
result  by  placing  the  Virgin  and  St.  Elizabeth  in  the 
open  space  against  the  landscape  and  the  other  two 
figures  in   front   of   a   wall   painted   in    neutral    colours. 


FRA   ANGELICO   TO   MESSINA 


47 


The  perspective  of  the  landscape  is  treated  in  a  mas- 
terly manner.  The  colouring  also  blends  harmoniously 
with  the    general    composition.      The    minor   figures   in 


E.  ]l.ujtcc*ji:ur,  Phot. 


Salle  VII 


1322.     Old  Man  and  Child.  —D.  Ghirlandajo. 


the  background  are  painted  in  light  colours  in  order 
that  they  may  stand  out  more  distinctly.  The  blue  of 
the  Virgin's  cloak  is  enhanced  by  the  red  garments. 
St.  Elizabeth  is  kneeling  and  is  robed  in  bright  yellow, 
whereas,  if  she  had  been  in  sombre  colours,  she  would 
have  created  a  void  in  the  scheme  of  colouring. 


48  PAINTINGS   OF   THE   LOUVRE 

Even  a(linitliii<;  that  (Jliirlaiidajo  did  not  possess  the 
depth  and  dreamy  beauty  of  BotticelH,  nor  his  love  of 
detail  in  nature,  one  nuist  recofjnise  that  he  was  his  equal 
in  the  art  of  interpreting  feeling.  Tliis  we  see  in  the 
"Portrait  of  an  Old  Man  and  Child"  (No.  132^2),  a  sym- 


1367.      The  Virgin  and  Child.  —  Mainardu 

phony  in  red.  The  old  man,  with  all  his  ughness,  is  care- 
fully treated,  and  there  is  so  much  love  in  his  eyes  and 
such  affectionate  confidence  in  the  look  of  the  child,  that 
we  must  believe  the  little  one  to  be  his  grandson. 

Doraenico  Ghirlandajo  died,  a  victim  to  the  plague,  in 
1494,  at  the  age  of  forty-five,  leaving  a  rich  inheritance 
to  the  artistic  world. 


FRA   AXGELICO   TO   MESSINA  49 

His  first  imitator  was  his  brother-in-law  and  faithful 
assistant,  Bastiano  Mainardi  (1470-1513)  who,  though 
not  so  famous  an  artist,  nevertheless,  put  more  feeling 
into  his  work.  This  is  shown  in  his  beautiful  picture  of 
"The  Virgin  and  Child"  (Xo.  1367).     There  is  a  particu- 


■at.-'- 

^^^g^f 

/^  iL 

^^^ 

t^mi 

M^ 

TMS^¥9' 

(&,Mk%' 

Pi 

m0  i^ 

i 

yM 

E.  Hautec.eur,  Phot.  Salle  VII 

1323.      Christ  on  the  iiay  to  Calvary.  — B.  Ghirlandajo. 

lar  sweetness  in  the  Virgin  as  she  tenderly  draws  St. 
John  the  Baptist  toward  her.  In  the  picture  "The 
Virgin  and  Infant  Jesus"  (Xo.  1367  a),  attributed  to 
Mainardi,  though  the  figure  of  Christ  might  be  by  him, 
the  composition,  as  a  whole,  reminds  us  of  the  more 
primitive  manner  of  Baldovinetti. 

Domenico  Ghirlandajo's    younger  brother,  Benedetto 
(1458-1497),  was  certainly  not  the  equal  of   Mainardi. 


50  PAINTINGS   OF    TIIK   LOUYUE 

Benedetto's  "Christ  on  the  Way  to  Calvary"  (Xo.  1323) 
is  confused  and  cokl  in  composition,  too  bright  in  colour- 
inff  and  too  niinutolv  detailed.  The  morbid  search  for 
expression  almost  distorts  the  face.  Too  great  precision 
of  this  kind,  though  it  may  .show  conscientious  Avork, 
does  not  take  the  place  of  talent,  for,  although  this  pre- 
cision in  a  man  of  genius  is  easy  to  understand,  in  an 
imitator,  it  becomes  affected  and  unreal.  This  is  clearly 
seen  in  the  unpleasing  picture  in  question  where  the  per- 
spective is  incoherent  and  poorly  understood,  and  the 
action  is  exaggerated. 

Florence  had  thus  reached  a  point  from  which  it  was 
possible  for  the  wonderful  art  of  the  sixteenth  century 
to  be  evolved. 

We  have  seen  the  art  of  Siena  perish  in  archaic  man- 
nerism, but  Umbria  escaped  this  pernicious  influence. 
Here  now  appeared  the  great  Piero  della  Francesca 
(14'23-149'2).  He  was  the  father  of  the  Umbro-Floren- 
tine  School,  and,  besides  having  the  spirit  of  observation, 
was  theoretically  and  practically  master  of  perspective,  as 
is  shown  by  his  book  "  Prospectiva  Pingendi."  Two  other 
masters  of  this  school  stand  out  prominently,  Melozzo 
da  Forli  and  Luca  Signorelli. 

The  school  of  INIelozzo  is  only  feebly  represented  in 
the  Louvre  by  the  work  of  his  pupil  Palmeggiani  (1456- 
after  1537),  "The  Dead  Christ"  (No.  1400),  where  the 
Saviour  is  represented  in  a  half  recumbent  position, 
supported  by  angels.  The  yellow  colour,  the  unsuccess- 
ful attempt  to  display  the  stigmata  and  the  lack  of  ex- 
pression on  the  faces  of  the  angels  make  this  artist  seem 
essentially  provincial,  and  he  owes  his  reputation  to  his 


FRA  ANGELICO  TO   MESSINA  51 

collaboration  with  his  great  master.  "VMien  Melozzo  died 
in  149-1,  Palmeggiani  dropped  back  into  his  former  medi- 
ocrity. 

Luca  Signorelli  (14-il-1523),  a  pupil  of  Piero  della 
Francesca,  was  the  most  illustrious  of  the  Umbro-Floren- 
tine  school.  In  the  works  of  his  maturity,  by  his  mastery 
of  perspective,  his  treatment  of  the  nude  and  the  manner 
of  his  grouping,  he  was  the  real  precursor  of  Michael 
Angelo.  His  love  of  large  subjects  adapted  itself  better 
to  mural  decoration  than  to  painting  on  canvas.     The 


Braun,  Clement  c&Cie.,  Phot.  Salle  Vli 

1525.      The  Birth  itf  the  Virgin.  — Signorelli. 

work  which  best  characterises  him  is  his  predella,  "  The 
Birth  of  the  Virgin"  (Xo.  1525).  St.  Anne  presents  the 
new-born  child  to  one  of  her  attendants,  and  St.  Joachim, 
on  one  side,  is  seated  Avriting,  while  a  man  clothed  in  red 
is  bending  over  the  foot  of  the  couch.  The  composition 
is  concentrated  in  a  small  space  and  is  of  remarkable 
brilliancy.  The  young  girl  standing  is  dignified  and  calm. 
The  colour,  as  is  almost  always  the  case  with  Signorelli, 
is  not  very  strong  and  has  grey-brown,  dark  shadow^s, 
but  it  is  employed  in  a  manner  which  promises  fur- 
ther progress.     A    ray  of  light  penetrates  softly  through 


52  PAINTINC.S   OF    Till',    lOl'VUE 

the  half  oj)on  door,  ;j[(Mitly  tovuliing  all  Ihc  figures  and 
thus  uniting  them. 

In  the  fragment  of  a  large  eoinj)()sition  called  "Seven 
Persons  Standing"  (No.  1.5!27),  by  Signorelli,  we  see  again 
the  brown-grey  in  the  faces  and  notice  that  metallic  dis- 
tinctness which  dearlv  bears  witness  to  the  influence  of 
Verrocchio's  work  on  all  his  contemporaries. 

In  the  T.ong  (lallerv,  on  the  wall  oj)j)osite  the  entrance 
to  the  Salle  des  Primitifs,  may  be  seen  "The  Adoration  of 
the  ^[agi"  (So.  MiW),  the  largest  of  the  Italian  pictures 
in  the  Louvre.  It  was  painted  by  Signorelli  in  140.'5  for 
San  Agostino  in  Citta  di  Castello,  but  does  not  show  the 
artist  at  his  best.  The  princij)al  feature  of  this  picture 
is  the  yir<rin  with  the  Infant  Jesus  on  her  knees.  To 
Him  one  of  the  kings  is  presenting  a  vase  of  perfume, 
while  St.  Joseph,  behind  the  Virgin,  leans  upon  his  staff 
in  conversation  with  the  ISIoorish  king.  This,  the  most 
important  scene,  is  dwarfed  by  the  numerous  horsemen 
in  the  background  and  by  the  page  holding  a  chalice 
in  his  hands;  and  the  colouring  is  cold  and  almost  harsh 
owing  to  the  juxtaposition  of  the  crude  reds.  The  {)er- 
spective  does  not  sufficiently  produce  an  open-air  effect, 
although  the  treatment  of  the  fortress  in  the  extreme 
background  is  excellent.  The  sides  of  the  picture  are 
crowded  with  figures,  and  a  cramped  effect  is  thereby 
produced.  To  the  school  of  Signorelli  belong,  likewise, 
the  fragments  of  a  large  composition  (No.  1677)  represent- 
ing four  persons  standing  before  a  portico. 

Thus  Signorelli  and  his  school  furnish  the  links  between 
the  Umbrian  art,  which  had  its  origin  in  Siena,  and  the 
great  art  of  Florence,  and  represent  one  of  the  most  im- 
portant features  in  the  artistic  history  of  all  time. 


FRA  ANGELICO  TO   MESSINA 


53 


Salle  VI 


E.  Hautecixur,  Phot. 

1526.     The  Adoration  of  the  Magi. — SigmreUL 

The  art  of  the  fifteenth  century  was  not  confined  to 
large  cities.  Every  pohtical  centre,  that  is  to  say,  every 
independent  township,  possessed  its  pecuhar  and  charac- 
teristic art,  more  or  less  developed.  Thus,  Vittore  Pisano, 
called  Pisanello  (1380  .''-1451),  was  one  of  those  original 
artists  produced  by  A^erona  at  the  end  of  the  fourteenth 


54 


I'AIN  TINGS   OF   TIIK  LOUVRE 


century.  TJiis  city  was  under  the  douhle  influence  of 
Venice  and  Padua.  Pisanello  ■was,  peculiarly,  a  great 
medallist  and  gave  to  his  })icturcs  the  quality  of  medals. 


^^^  J^u^^^B^H  T 

% 

^F^fl^^^lr 

i 

1 

W^/M 

N? 

'    Hi 

M 

E.  Hauteo.ur.  I'lii.t.  Snlle  VII 

1422a.     Portrait  of  a  Princess  of  Este.  —  Pisanello. 


A  specimen  of  this  work  is  his  splendid  "  Portrait  of  a 
Princess  of  Este"  (No.  1422  a),  to  be  found  in  Salle 
VII.  The  head,  as  if  chiselled  in  bronze,  stands 
out  from  the  liard  foliage,  and  the  parallel  folds  of 
the   garment  as  well   as   the   embroidery  on    the    cloak 


FRA  AXGELICO   TO    MESSINA 


55 


seem  to  be  carved  rather  than  painted.  The  picture 
is  evidently  an  excellent  portrait;  the  flowers  and  butter- 
flies   are    minutely    accurate,    and    this    splendid    work. 


E.  Hautecteur,  Ph.jt.  Salic  \'1I 

1279.     Pandolfo  2Ialatesta  praying  to  the  Virgin.  —  Fabriano. 

though  as  cold  as  metal,  is  luminous  in  colouring. 
Pisanello  is,  perhaps,  also  the  author  of  the  beautiful 
picture  attributed  to  Gentile  da  Fabriano  (1370  .'-l-4oO), 
representing  "  Pandolfo  Malatesta  Praying  to  the  Virgin  " 


56  I'AIXTINGS   OF   TIIK   LOUVUK 

(No.  l"??!)),  ill  the  Salle  (les  Priiiiitils.  This  work  is  in  need 
of  cleaninfjj  and  h;is  the  same  clear  and  cold  colouring. 
The  head  of  Malatesta  is  on  a  dark  background  and  is 
also  metallically  treated.  We  .see  the  same  minuteness 
of  execution  in  the  vegetation.  The  faces  of  the  Virgin 
and  of  the  Child,  with  their  realistic  and  sweet  expres- 
sion, are  treated  in  a  manner  far  surjiassing  all  that  we 
know  of  Gentile  da  Fabriano. 


liraull,  Li>_ui^liL  4.V  Clc,  i'hut. 


ballL  \  11 


127S.     The  Presentation  in  the  Temple.  —  Fabriano. 


Of  Gentile  da  Fabriano  INIichael  Angelo  has  mo.st 
aptly  said,  "Aveva  la  raano  simile  al  nome"  (His 
hand  was  like  his  name).  He  was  gracious,  gentle 
and  joyous.  He  delighted  in  luminous  colouring  and 
brilliant  ornamentation  and  loved  detail  in  modera- 
tion. His  predella,  "The  Presentation  in  the  Temple" 
(No.  1278),  shows  his  style  to  have  been  influenced  by 
that  of  the  fourteenth  century  rather  than  by  the  ad- 
vanced Florentine  manner  of  his  own  period.  The  prin- 
cipal feature,  the  High  Priest  with  the  Child  in  his  arms, 
placed  between  the  Virgin,  St.  Joseph,  and  St.  Anne, 
under  a  hexagonal  kiosk,  almost  becomes  secondary  to 
the  accessories  in  the  shape  of  two  women  of  quality  on 


FRA  ANGELICO   TO    MESSINA  57 

the  left,  two  beggars  on  the  right  and  the  background  with 
its  carefully  executed  architecture. 

"We  find  the  same  characteristics  in  the  four  pictures 
of  Gentile's  school  (Xos.  h280  to  1283),  the  manner  of 
which  very  nearly  resembles  that  of  the  master.  They 
are  all  painted  by  the  same  hand,  as  is  proved  by  the 
multitude  of  scenes  represented  in  the  different  parts  of 
the  picture.  They  have  the  same  freshness  of  colouring, 
the  same  attention  to  accessory  incidents,  the  same 
minuteness  of  execution  in  the  garments,  and  the  same 
richness  of  ornamentation.  There  is  no  inclination  to 
the  grandiose,  but  there  is  tlie  inherent  tendency  to  re- 
turn to  primitive  art  peculiar  to  Siena  which  character- 
ised and  united  the  local  schools  of  Umbria. 

Like  Fabriano,  the  other  cities  of  Umbria,  such  as  Ca- 
merino,  San  Severino  and  Urbino,  were  uninfluenced  by 
the  great  Florentine  movem.ent.  The  same  applies  to 
Foligno  where  Xicolo  Alunno  (1430.^-1492.*)  flourished. 

This  forerunner  of  Perugino  was  acquainted  with  the 
great  works  of  his  time,  but  could  not  assimilate  them, 
as  is  shown  by  the  predella  in  three  parts,  in  the  Long 
Gallery  (No.  1120),  representing  three  scenes  from  the 
passion.  The  panel  on  tlie  extreme  left  tells  us  that 
"Nicolo  Alunno  painted  this  work  in  1482  by  order 
of  Brigida."  The  two  angels  with  Umbrian  features 
have  been  draped  after  the  manner  of  Ghirlandajo, 
though  not  very  successfully,  for  there  is  no  breaking  up 
of  detail  in  the  large  folds  of  their  garments.  This  arti- 
fice remained  unknown  to  Nicolo  Alunno.  Li  "The 
Prayer  in  the  Crarden  of  Olives"  (part  of  this  predella), 
the  figure  of   Christ  is  eclipsed,  according  to  the  Umbri- 


58  rAINTINGS   OF   THE   LOUVRE 

an  manner,  by  the  landscape  and  by  the  sleeping  Apos- 
tles. In  "The  Flaf^cUation"  a  foreign  element  has  been 
introduced  in  tlic  treatment  of  the  nude,  for  Alunno  was 
here  influenced  l)y  the  powerful  genius  of  Signorelli.  an 
influence  which  has  lent  life  to  the  figures,  though  they  are 
too  large.  A  beautiful  perspective  has  been  given  to  the 
landscape  by  means  of  a  serpentine  road.  Alunno's 
drawing  is  stifi",  as  we  see  in  the  ''Christ  on  the  Way 
to  Calvary"  where  the  horses  appear  to  be  made  of 
wood  and  the  cross  is  too  long.  In  another  panel  of  the 
predella,  "The  Crucifixion,"  the  concentrated  expressions 
and  the  positions  of  St.  John  and  the  Virgin  make  us 
realize  that  Xicolo  Alunno  was  the  real  precursor  of 
Perugino. 

In  the  works  of  Pietro  Perugino  (14-46-15'24),  we  see 
no  longer  the  severe  grandeur  of  Ghirlandajo ;  the  some- 
what rude  Florentine  realism  is  modified,  and  there  is 
deeper  feeling.  He  was  first  taught  by  Piero  della  Fran- 
cesca  and  was  afterwards,  with  Lionardo  and  Lorenzo 
di  Credi,  under  the  instruction  of  Verrocchio.  He  was 
one  of  the  first  in  the  Italian  schools  who  was  a  complete 
master  in  the  technique  of  painting  in  oils. 

What  he  learned  under  these  different  masters  was 
harmoniously  bleHded  with  his  strong  personal  genius 
and  was,  especially,  applied  to  religious  subjects.  It  was 
in  this  field  that  he  could  reveal  all  the  peculiar  qualities 
of  his  talent,  as  in  "The  Virgin  and  Child"  (Xo.  1564), 
in  the  Long  Gallery,  —  an  admirable  picture,  painted 
in  the  year  1491.  On  a  throne  in  the  middle  of  a  terrace 
the  Virgin  is  seated  in  full  face  between  St.  Rose  and  St. 
Catherine,  with  the  Infant  Jesus  on   her  knee.     On  the 


FRA   ANGELICO   TO   MESSINA 


59 


E.  Haiitecoeur.  Phot. 


Salle  VI 


1564-     The  Virgin  and  Child.  —  Perugino. 

balustrade  behind  the  Virgin,  two  angels,  standing  with 
joined  hands,  are  observing  her  with  reverence.  How- 
ever simple  the  composition  may,  at  first  sight,  appear, 
one  sees  that  it  is  the  result  of  careful  study  when 
one  examines  it  attentively.  The  water-colour  treat- 
ment gives  to  the  work  a  certain  hardness.  All  the 
strength  of  the  colouring  is  in  the  red  of  the  Virgin's 
garments,  the  blending  of  which,  with  the  similar  colour 
in  the  robes  of  the  two  holy  women,  gives  a  great  unity. 


(i()  I'AINIINGS   OF    THK   LOUVRE 

to  the  <;r()Uj)  ill  tlio  foreground.  In  this  luminous  fram- 
iiii;  the  uiotlicr  sujiports  the  figure  ot"  the  Child,  so 
white  ;ind  soft  and  so  dehcately  rounded.  The  Child 
rests  on  the  right  knee  of  the  Virgin  who  leans  her  head 
to  tlic  (t|)jx)site  side,  thus  giving  balance  to  the  composi- 
tion. We  here  see  tlie  tyj)e  of  woman  created  by  I'ietro 
Perugino  in  all  its  ]>urity.  The  face  is  rather  l)roa(l,  the 
lips  are  tightly  closed,  a  high,  straight  forehead  is  en- 
circled by  hair  parted  in  the  middle  and  twi.sted  in  large 
curls  hanging  in  ])arallcl  lines.  The  space  between  the 
Virfi^in  and  tlu'  holy  women  is  filled  with  the  fiirures  of 
two  angels,  and  their  wings  (piite  naturally  conform  to  the 
circumference  of  the  picture,  justifying  its  round  .shape. 
The  same  applies  to  the  curves  of  the  arms  of  St.  Rose 
and  St.  Catherine,  the  line;;  of  which  are  parallel  with 
the  framing.  A  wide,  silvery  landscape,  studded  with 
i.solated  trees,  opens  out  in  the  background,  and  this 
with  its  distant  blue  mountains  and  green  fields  helps  to 
emphasize  the  depth  of  the  composition.  The  balustrade 
which  surrounds  the  group  breaks  up  the  distance  and 
causes  the  foreground  to  appear  nearer  to  us. 

This  work  already  shows  us  a  gentle  and  tender  depth 
of  expression  unknown  before  and  was  destined  to  make 
a  profound  impression  on  Florence  and  to  be  much  ap- 
preciated in  that  city,  agitated  at  the  time  by  the  violent 
preaching  of  Savonarola. 

Perugino  w'as  a  stranger  to  grandeur,  but  he  expressed 
tenderness  of  feeling  in  a  masterly  manner.  His  "St. 
Sebastian"  (No.  1566a),  also  in  the  I^ong  Gallery,  to 
which  the  oil  treatment  gives  an  intense  bi'illiancy,  Avas 
formerly  the  property  of  Prince  Sciarra  and  belongs  to 


FRA   ANGELICO  TO    MESSINA 


61 


E.  Hautecoeur,  Phot.  Salle  VI    . 

1566  A .     Saint  Sebastian.  —  Perugino. 

about  the  same  period  as  the  last  picture.  It  is  not 
pain  nor  ecstasy  which  we  see  in  the  features  of  the  saint, 
but  an  almost  joyful  suffering.  The  eyes,  languidly  raised 
to  heaven,  seem  to  express  absolute  resignation  and  sub- 
mission to  the  will  of  God.  The  beautiful  young  figure 
stands    out    against   the    dark    column    to    which    it    is 


62  IWINTINC.S   OF    rilK   LOUVRE 

fasteiuMl,  ill  I  lie  middle  ol"  aii  open  Renaissance  peristyle, 
Avitli  a  tar-reaeliin<j;  and  cheerful  landscape  in  the  back- 
ground. 

The  martyrdom  of  St.  Sebastian  was  a  favourite  sub- 
ject with  tlie  artists  of  the  Jicnaissdiire,  for  it  was  the 
first  opj)orlunity  whicli  liad  ])resente(i  itself  for  painting 
the  nude  in  sacred  subjects.  This  subject  was  also 
treated  by  Mantegna  in  a  picture  now  in  the  A'ienna 
Museum,  but  with  the  most  daring  realism,  the  figure 
of  the  young  man  in  chains  being  convulsed  with  pain. 
The  "St.  Sebastian"  by  Botticelli,  in  Berlin,  notwith- 
standing the  excellent  modelling  and  the  graceful  atti- 
tude, is  but  a  study  of  the  nude. 

Perugino  was  called  to  Rome  by  Cardinal  della  Rovera, 
afterwards  Julius  II.  Perousa  entrusted  him  with  the 
great  work  of  painting  the  mural  decoration  of  the  Cam- 
bio,  and  offers  of  employment  came  from  all  sides.  Thus, 
Perugino  ceased  to  paint  and  began,  so  to  speak,  to  manu- 
facture pictures.  Assisted  by  numerous  companions,  he 
repeated  himself  in  former  well-known  subjects,  and  his 
execution  became  more  and  more  trivial,  that  whicli 
was  originally  sentiment  degenerating  into  a  stereotyped 
mannerism. 

"The  Holy  Family"  (No.  15{)5)  dates  from  the  be- 
ginning of  this  change.  Here  there  is  the  same  gentle 
and  lifelike  treatment  as  in  "The  Virgin  and  Child" 
already  mentioned.  The  A'irgin  and  Child  are  placed, 
in  the  same  manner,  between  St.  Joseph  and  St.  Cath- 
erine, but  the  feeling  portrayed  in  his  former  pictures 
is  lacking  here.  The  faces  are  empty,  and  the  picture 
lacks  something  which  cannot  be  expressed  in  words.     If 


FRA  ANGELICO   TO   MESSINA 


63 


we  consider  this  evolution  in  the  art  of  Perugino,  we  are 
tempted  to  beheve  that  he  had  become  an  irrehgious  man. 
The  works  of  his  first  period  were  painted  with  love  and 
showed  more  than  mere  skill,  for  Perugino  put  all  that 
he  felt  into  them.     But  we  easily  perceive  that  this  feeling 


1^^^^^^^^  -ij^^^^^^^i 

E.  Hautecceur.  Phot.  Salle  \'l 

1567.     The  Combat  between  Love  and  Chastity.  —  Perugino. 

is  wanting  in  his  later  works,  the  love  of  gain  urging 
him  to  work  with  an  increasing  thoughtlessness  and 
rapidity.  Even  the  sarcasm  of  the  young  Michael 
Angelo  could  not   put  a  stop  to  this  falling  off. 

This  deterioration  is  strikingly  shown  in  "  The  Combat 
between  Love  and  Chastity"  (No.  1567),  painted  in  1505 
for   Elizabeth  of   Este,  Duchess  of  Mantua.     This   ab- 


61.  PAiN'TiNT.s  or   iiii:  i.orvuK 

stract  .siil)jrcl  was  cliosen  hy  the  duclicss  herself  and  the 
treatment  was  in  water-eolour  which  was  not  to  the  hkin<i; 
of  Pcru^ino.  The  surface  seems  bare  and  tlie  nude  figures 
become  white  spots  and  arc  crowcU'd  together  in  a  (hs- 
agrceable  manner.  Tliere  is  no  question  of  composition, 
]>roperly  speaking,  and  tlic  faces  are  without  expression; 
the  attitudes  are  cjuite  conventional  and  sometimes  bor- 
rowed, as,  for  instance,  that  of  llic  person  standing  on 
the  left  which  has  evidently  been  c()j)icd  from  the  frescoes 
of  Signorclli. 

In  1.507,  Pope  Julius  II  called  I'erugino  to  Rome  asecond 
time,  to  decorate  the  Papal  Palace,  and  the  work  he  did 
there  would  have  been  afterwards  removed  had  it  not  been 
for  the  reverence  of  Raphael  for  his  master.  The  period 
of  Perugino's  greatness  was  gone.  The  "St.  Paul"  (No. 
1566)  is  a  work  in  his  latest  manner.  The  traditional 
type  of  face  has  lost  all  expression,  the  eyes  are  fixed,  the 
garments  hang  clumsily  on  the  shoulders  like  a  coverlet 
on  a  couch,  and,  in  the  uncertainty  of  the  features,  we 
see  the  feeble  and  trembling  hand  of  an  old  man.  At  the 
dawn  of  the  splendid  art  of  the  sixteenth  century,  Peru- 
gino  was  a  mere  wreck,  but  he  had  certainly  liclped  to 
prepare  for  its  development. 

The  pictures  of  his  school  in  the  Louvre  are  only  of 
moderate  value,  such  as  "The  Dead  Christ"  (No.  1568), 
"The  Stigmatisation  of  St.  Francis"  (No.  1569)  and  "St. 
Jerome  in  the  Desert"  (No.  1570),  as  well  as  Nos.  1571, 
1572  and  1573.  The  first  of  these  works  lacks  life  and 
is  overdrawn  and  full  of  mannerism.'' 

Bernardino  Betti  (1454'-1513),  surnamed  II  Pinturicchio, 
a  friend  of  Raphael,  may  also  be  counted  among  the  pupils 


FRA   ANGELICO   TO    MESSINA 


65 


of  Pcnigino.  An  imitator  rather  than  an  originator, 
he  had  talent  for  decoration  and  slione  by  tlie  richness 
of  ornamentation  and  profusion  of  gikhng.  His  bad 
drawing  he  concealed  by  means  of  drapery.     "  The  Virgin 


E.  Hautecceur,  Ph-.t.  Salle  VI 

14^7.      The  Virgin  and  Child. — Pinturicchio. 

and  Child,  St.  Gregory  and  another  Saint"  (No.  1417) 
is  a  good  specimen  of  his  manner  and  shortcomings. 

The  art  of  Penigino  with  its  character  of  sweetness  was 
bound  to  degenerate  the  moment  Perugino  could  no  longer 
work  himself.  In  order  to  maintain  its  excellence  it  was 
necessary  to  introduce  some  foreign  elements.     This  was 


66 


PAINTINGS   Ul'   THK   LUL  VRE 


done  by  Spagna  (P-1530?)  who  got  his  training  from  as- 
sisting Pcrugino  and  who  also  assimilated  the  character- 
istics of  Raphael,  Pinturicchio,  Ghirlandajo  and  even 
Filippo  Lippi.  "The  Virgin  and  Child"  (No.  1540), 
by  Spagna,  as  well  as  an  almost  identical  copy  of  it  (No. 


E.  IlautL'cnE'ur,  Phot. 


Salic  \- 1 


1540.      The  Virgin  and  Child.  —  Spagna. 

1573  a)  in  the  Salle  des  Priraitifs,  recalls  some  charac- 
teristics of  Raphael,  especially  in  the  faces,  although 
they  are  less  refined.^  The  similar  inclination  toward 
the  right  of  the  Virgin  and  the  Child  shows  a  remark- 
able absence  of  feeling  for  symmetry.     The  copy  (No. 


FRA  ANGELICO   TO    MESSINA 


67 


1573a),  above  mentioned,  bears  no  name,  but  it  can  only 
be  by  Spagna  himself,  although  it  has  been  attributed  to 
Perugino.  Compare,  in  both  pictures,  the  treatment  of 
the  landscape  with  the  single  trees   on   either   side,  the 


E.  Hautecoeur,  Phot. 

1312.     The  Vb-ffin  in  Glory. 


Salle  VI 


•  MaiDii. 


similar  inclination  of  the  heads  of  the  Virgin  and  the 
Child  and,  above  all,  the  position  of  the  fingers  of  the  Vir- 
gin's right  hand. 

Giannicola  Manni  (died  1544)  followed  the  manner  of 
his  master  Perugino  and  with  it  incorporated  that  of  sev- 


68 


rAINTINGS   OF   TIIK   LOIVRR 


oral  other  artists.  In  his  large  picture,  "The  Virgin  in 
Glory"  (Xo.  1872),  in  the  Long  (iallery,  we  feel  the 
influence  of  Pcrugino.  The  landscape  is  entirely  bor- 
rowed from  him,  and 
the  fac(>  of  the  Viririn 
is  hut  an  imitation  of 
Perugino's  type.  The 
other  foreign  elements 
in  the  picture  are  taken 
from  Verrocchio,  and 
his  influence  may  also 
l)e  seen  in  "  The  Bap- 
tism of  Christ"  (Xo. 
1369),  particularly  in 
the  composition  of  the 
central  group.  The 
male  figures  recall  those 
of  Raphael,  and  the  an- 
gels those  of  Perugino. 
In  "  The  Adoration  of 
the  Magi"  (Xo.  1371), 
in  the  Salle  des  Primi- 
tifs,the  treatment  of  the 
Infant  Jesus  is  inspired 
by  Lionardo. 

Unlike  Florence  Ven- 
ice presented  no  partic- 
ular artistic  activity  at 
this  period.     Its  power- 
ful no})ility  were  concerned  with  foreign  affairs  and  held 
the  great  mass  of  the  people  in  subjection.     N^ew  ideas 


Braun,  Clement  &•  Cie.,  ?hot. 


Salle  \-I 


1607.     St.  .Tdhti  of  Capistran.  —  Vh-arini 


FRA   ANGELICO   TO   MESSINA  69 

made  their  way  only  slowly,  and  there  was  no  intellec- 
tual movement  in  its  society.  The  spirit  of  the  Middle 
Ages  lasted  longer  in  Venice  than  in  any  other  part  of 
Italy,  and  l?yzantine  art,  therefore,  survived  here  up  to  an 
advanced  period  in  the  sixteenth  century.  The  School 
of  Murano  produced  the  Vivarinis  and  Crivellis,  but  these 
masters  represented  an  exhausted  and  dead  art  rather  than 
any  new  development. 

Bartolommeo  Vivarini's  (.^-1500.^)  "Portrait  of  St. 
John  of  Capistran"  (No.  1607)  shows  the  figure  of  the 
saint  standing  out  against  a  dark  background.  There  is 
almost  over-refinement  in  the  treatment  of  the  small  face 
and  pinched  lips,  in  the  slightly  inclined  body  and  in  the 
manner  of  holding  the  standard.  The  same  criticism 
applies  to  "St.  Bernard"  (No.  1208),  by  Carlo  Crivelli 
(1430-1498),  painted  in  water-colours  and  executed  in  a 
masterly  manner.  The  beautiful  picture,  "The  Virgin 
and  Child  Adored  by  Angels"  (No.  1076  a),  in  which 
the  Virgin  presents  the  Child  to  two  angels,  is  wrongly  at- 
tributed by  some  critics  to  Crivelli. 


ANTONELLO  DA  MESSINA  TO  LIOXARDO 

DA  VINCI 

'  I  ''HE  most  important  moment  in  the  evolution  of  Ve- 
-■■  netian  art,  perhaps  of  Itahan  art  in  general,  is  that  of 
the  appearance  of  Antonello  da  Messina  (144-t  ?-1493),  for 
it  was  he  who  first  introduced  into  Italy  the  method  of  paint- 
ing in  oils.  He  left  the  city  of  ^Messina,  which  was  so  fer- 
tile in  artistic  production,  to  emigrate  to  Rome  and  thence 
to  Flanders,  where  he  became  a  pupil  of  Roger  van  der 
Weyden,  and  w  as,  probably,  the  first  Italian  to  succeed  in 
mastering  the  process  of  painting  in  oils.  This  treatment 
satisfied  his  intense  appreciation  of  colour  and  minuteness 
of  execution.  He  was  a  stranger  to  the  deep  feeling  re- 
quired for  religious  subjects,  but,  as  a  daring  realist  and 
one  endowed  with  remarkable  quickness  of  observation, 
he  became,  on  his  arrival  in  Venice,  the  leading  portrait 
painter  of  the  time. 

"  The  Portrait  of  a  Man  "  (Xo.  1134),  the  highest  mani- 
festation of  his  powerful  work,  has  a  predominating  warm 
brown  shade,  and  the  execution  is  of  a  careful  minuteness 
without  being  overdone  and  without  any  trace  of  the  brush 
obtruding  disagreeably.  The  young  man  in  this  picture, 
with  his  l)ig,  defiant  under-lip,  has  an  expression  of  energy 
and  grandeur  that  has  been  surpassed  only  by  the  por- 
traits of  Jan  van  Eyck.  The  artist  has  grasped  the  most 
subtle  details  of  nature.  All  the  delicate  qualities  which 
can  be  produced  by  painting  in  oils  are  represented  here 

70 


MESSINA   TO   LIONARDO 


71 


E.  Hautecceur,  Phot. 


Salle  VI 


1134.     Portrait  of  a  Man.  — Messina. 


in  the  fine  modelling,  the  strong  relief,  the  blending  and 
transparency  of  the  shading  and  the  perfect  treatment  of 
the  fur  and  tissue  of  the  garments.  The  influence  of  Man- 
tegna  and  Piero  della  Francesca  prevented  Antonello  da 
IVIessina  from  maintaining  the  highest  standard,  as  is 
shown  by  his  works  in  the  Museums  of  Vienna  and  Berlin. 
The  process  which  he  had  brought  from  Flanders  soon  be- 


7'2  PA  I  NIT  NT,  S   Ol'    Till-',    T.OrVRK 

came  the  common  property  of  the  artists  of  Venice  where 
Murano  liad  been  succeeded  by  the  Belhnis. 

Gentile  IJeUini  (1 4^2(5- lo()7),  the  elder  of  the  two  broth- 
ers, was  a  daring  realist,  while  Giovanni  (1428-151(5)  was 
a  poet  full  of  sentiment  and  feeling,  one  brother  thus  sup- 
plying qualities  which  the  other  lacked.  Like  true  Vene- 
tians, thev  both  had  an  intense  love  of  colour.  An  exam- 
]ile  of  the  manner  of  Gentile  Bellini  is  the  "  Portrait  of 


*^^^^^^^^^H 

p^p^^^ 

''*T^^^^^^B^  ^vv -^^^^^^H    . 

^    .'   .^^sP 

[-firV 

k     . 

.,^R  ■ 

H.  Ilaiil.     .1  ;)r.  I'h..t.  Salle  Vi 

1156.     Portrait  of  Two  Men.  —  Gentile  Bellini. 

Two  Men"  (No.  11 50),  by  some  follower,  though  attrib- 
uted on  the  frame  of  the  picture  to  Gentile  Bellini  himself, 
and  to  Cariani  l)y  Crowe  and  Cavalcaselle.  Here  the 
cheeks  are  flat,  the  hair  appears  artificial,  and  the  portrait 
cannot  be  compared  to  that  of  Messina,  although  the  expres- 
sion of  the  eyes  is  full  of  life  and  character.  Notwith- 
standing the  close  resemblance  of  these  two  figures  which 
were  for  a  long  time  supposed  to  be  the  Bellini  brothers 
themselves,  we  discern,  in  the  one  on  the  left,  a  nature 
full  of  fire,  and,  in  the  other,  a  calmer  temperament.      We 


MESSINA  TO   LIONARDO  73 

get  a  better  impression  from  Giovanni  Bellini's  picture,  the 
"  Portrait  of  a  Man  "  (No.  1158  a),  recently  acquired  by  the 
Louvre,  which  hangs  on  the  left  of  the  Long  Gallery  near 
the  "Portrait  of  a  Man"  (No.  113-t).  His  gift  of  repre- 
senting character  is  triumphantly  displayed  in  this  person- 
age with  dark  hair.  Here  is  not  a  portrait  only,  but  a 
representation  of  the  times.  His  power  as  a  colorist  is 
revealed  by  the  manner  in  which  he  introduces  a  blue  sky 
and  white  clouds  as  a  background  and  thus  relieves  and 
almost  destroys  the  first  impression  of  darkness  given 
by  the  picture. 

In  1479,  Gentile,  vrho  w^as  then  occupied  with  the  deco- 
ration of  the  great  hall  of  the  Ducal  Palace,  was  sent  by 
the  Republic  of  Venice  to  the  Court  of  the  Sultan  Mahomet 
IL  From  this  journey  to  the  East,  the  first,  perhaps,  in 
the  annals  of  art,  new  inspirations  were  acquired,  and 
"The  Reception  of  a  Venetian  Ambassador  at  Cairo" 
(No.  llo7),  attributed  by  Mr.  Berenson  to  Catena  (l-17o- 
1531),  was  the  result.  At  the  entrance  to  a  high  gate, 
seated  on  his  divan  and  surrounded  by  his  emirs,  the 
Sultan  is  receiving  the  ambassador  of  the  Republic.  The 
contrast  between  the  black  costume  of  the  ambassador 
and  the  variously  coloured  robes  of  the  Orientals  is  very 
striking.  The  persons  on  horseback  and  on  camels  give 
life  to  the  scene,  and  the  treatment  of  the  perspective  with 
its  minarets  and  palms  is  excellent.  A  dazzling  light 
bathes  the  whole  composition  and  plays  in  big  rays  upon 
the  arcade  of  the  porch,  producing  vigorous  contrasts 
of  light  and  shade. 

The  poetic  and  distinguished  manner  of  Giovanni 
Bellini  is  very  superior  to  the  realism  of  his  elder  brother 


o 


3 


s 


§- 

« 


74 


MESSINA  TO   LIOXARDO  75 

Gentile.  His  domain  was  religious  subjects.  In  "The 
Virgin  and  Child  between  St.  Peter  and  St.  Sebastian" 
(So.  1158),^  there  is  a  gentle  repose  on  the  face  of  the 
Mrgin,  and,  though  there  is  nothing  divine  about  her, 
she  is  full  of  poetic  charm.  The  handsome  St.  Sebas- 
tian clasps  his  hands  in  timid  veneration,  and  St.  Peter 
holds  the  key  in  an  energetic  manner.  Resolution  is  printed 
upon  Peter's  features,  and  we  are  reminded  of  the  words 
addressed  to  him:  "Thou  art  Peter  and  upon  this  rock 
I  will  build  my  church."  In  the  lighter  tints  of  the  pic- 
ture, Giovanni  shows  himself  to  be  a  great  colourist,  as, 
for  instance,  in  the  white  of  the  cloak  and  veil  of  the  Vir- 
gin, in  the  figures  of  the  Child  and  St.  Sebastian  and  in 
the  white  clouds  in  which  float  the  heads  of  angels. 

Of  the  numerous  imitators  of  Giovanni  Bellini,  however 
faithful  their  imitation,  none  could  equal  his  excellence, 
for  with  them  tranquillity  became  indifference,  and  sweet- 
ness, vapitlity.  This  is  shown  in  "  The  Virgin  and  Child 
with  St.  Sebastian"  (So.  1159),  a  picture  of  his  school 
which,  although  it  does  not  lack  charm,  has  not  the  power 
nor  the  colouring  of  Giovanni. 

Gentile  Bellini,  before  his  death  in  1j07,  had  confided 
to  his  brother  Giovanni  the  completion  of  his  work,  "  The 
Preaching  of  St.  Mark,"  now  in  Milan.  From  this,  the 
picture  in  the  Louvre  called  "  The  Preaching  of  St.  Stephen 
in  Jerusalem"  (So.  1211),  by  Vittorio  Carpaccio  (died 
1518  ?),  is  entirely  borrowed.  The  composition  of  the  two 
is  almost  identical.  St.  Stephen  stands  on  a  high  pedestal 
at  the  left  surrounded  by  a  group  of  listeners  many  of 
whom  wear  Oriental  costumes,  and  the  background  is  full 
of  cupolas,  minarets  and  pleasant  green  hills.     But  that 


76 


PAINTIXGS   OF  THE    I.orVKK 


which  Carpaccio  could  not  imitate  was  the  dazzling  sun 
of  the  south.  In  spite  of  his  efforts  to  give  an  impression 
of  it,  he  could  not  prevent  his  colouring  from  being  some- 
what yellow  and  grey. 

The  new  process  of  oil  ])ainting  which  Antonello  da  Mes- 


E.  HauteccEur,  Phot.  Salle  VI 

1211.     The  Preaching  of  St.  Stephen  at  Jerusalem.  —  Carpncdo. 


sina  had  introduced  into  Venice  was  improved  upon  by  the 
Bellini  brothers  who  collected  about  them  artists  of  diverse 
characteristics.  One  of  the  most  agreeable  of  these  was 
Cima  da  Conegliano  (died  1517  ?),  a  master  par  excellence 
of  religious  subjects.  The  grouping  in  his  picture,  "The 
Virgin  and  Infant  Jesus"  (No.  1259),  is  strictly  pyramidal. 
The  Virgin  looks  with  devotion  upon  the  Infant  Jesus 


MESSINA  TO   LIONARDO  77 

who  rests  upon  her  knees,  while  two  saints  approach  and 
adore  Ilini.  Their  positions,  though  graceful,  are  some- 
what affected.  Behind  the  Virgin  is  a  large,  richly  decorat- 
ed canopy,  a  detail  for  which  the  Venetian  artists  had  a 
predilection,  and  which  Alhrecht  Diirer  also  introduced 
into  German  art.  In  the  distance  stretches  out  a  beautiful 
landscape  representing  a  country  scene  of  Frioul,  the  in- 
spiration of  which  we  owe  to  the  love  of  the  artist  for  his 
native  land.  Here  winds  a  silvery  river,  while  bright  fields 
and  the  frowning  tower  of  a  fortified  castle,  all  richly 
warm  in  colouring,  make  a  singularly  beautiful  background 
in  the  picture. 

Andrea  Mantegna  (1431-150(5).  son  of  a  poor  peasant, 
was  adopted  at  the  age  of  ten  by  Francesco  Squarcione 
who  taught  the  art  of  embroidery  as  well  as  painting. 
Moreover,  Squarcione,  like  a  modern  master,  made  his 
pupils  work  from  plaster  models  of  the  antique,  and  Man- 
tegna thus  became  enamoured  of  tlie  forms  of  antiquity 
which  afterwards  inspired  all  his  works.  But  art  was  still 
too  much  in  its  infancy  for  any  danger  to  come  from  purely 
academical  work.  Mantegna's  character  was  too  realistic 
and  decided  to  fall  under  the  influence  of  archaism.  He 
was  one  of  the  greatest  artists  of  his  time  and  was  the 
first  who,  keeping  truth  ever  in  sight,  introduced  into 
painting  all  the  elements  of  antique  forms  and  infused 
into  them  his  own  peculiar  spirit. 

From  this  point  of  view  let  us  consider  one  of  his  first 
works,  "Calvary"  (No.  1373).  This  picture  shows  all 
the  characteristics  of  his  manner  —  realistic  treatment, 
knowledge  of  perspective  and  the  introduction  of  elements 
from  the  antique.     From  a  paved  surface  rise  three  crosses. 


78  rAT\TT\GS   OF  THE   LOUVRE 

and,  on  the  central  one,  Christ  is  nailed  between  those 
bcarint]:  the  two  thieves.  On  the  ri^ht  are  some  soldiers 
who,  with  perfect  indifference,  throw  dice  for  the  Saviour's 
garments  while  others,  on  horseback,  with  equal  indiffer- 
ence, raise  their  eyes  to  the  cross.    On  the  left  are  St.  John, 


E.  Hautecceur,  Phot. 


1313.      Calvary.  —  Mnntegna. 


bathed  in  tears,  and  the  Virgin  who  is  only  prevented  from 
sinking  by  the  support  of  some  holy  women.  A  steep  road 
leads  to  Jerusalem  on  a  height  in  the  background.  The 
composition  is  strong.  The  cross  of  the  Saviour  is  placed 
in  the  open  space  between  two  mountains,  thus  causing  it 
to  stand  out  from  those  of  the  tw'o  thieves  which  are  less  in 
relief  against  their  darker  background.  The  deep,  wide 
landscape,  the  steepness  of  the  road  leading  up  to  the  town, 


MESSINA  TO   I>IONARDO  79 

the  softness  of  the  tones  pahng  in  colour  and  vanishing 
in  the  distance  constitute  a  very  reahstic  perspective.  But 
the  picture's  most  striking  feature  is  its  truth  of  expression 
and  action.  The  Roman  legions  have  the  classic  calm  of 
figures  in  antique  bas-reliefs,  in  striking  contrast  to  the 
group  in  which  we  see  the  Virgin.  On  her  aged  face  there 
is  an  expression  of  distracted  grief.  Her  arms  fall  inert, 
her  body  is  inanimate,  and  her  face  is  of  a  paleness  as 
death-like  as  that  of  the  body  of  her  Son. 

Mantegna  was  called  by  the  Duke  Ludovico  Gonzaga 
(1460)  to  Mantua,  where  he  painted  the  series  of  frescoes 
in  the  "  camera  degli  sposi "  (bridal  chamber)  of  the  old 
castle. 

On  the  death  of  Gonzaga,  Mantegna  devoted  his  services 
to  the  Duke's  son,  Francesco,  and  in  "  The  Virgin  of  the 
Victory"  (No.  1374),  painted  in  1496,  he  transformed  into 
a  victory  the  defeat  which  this  prince  had  suffered  at  the 
hands  of  Charles  VIII  of  France.  In  this  picture  the 
Virgin  is  seated  under  a  canopy  of  foliage  richly  orna- 
mented with  garlands,  and  blesses  the  Child  whom  she 
holds  standing  on  her  knees.  Her  cloak  is  held  by  the 
Archangel  Michael  and  St.  George  who  spread  it  out  in 
the  form  of  a  canopy.  By  her  side  stands  St.  John  the 
Baptist  and,  in  the  background,  we  see  St.  Andrew  and 
St.  Longinus.  The  composition  is  in  the  form  of  a  per- 
fect pyramid,  and,  from  the  summit  of  the  construction, 
there  hangs  a  branch  of  coral.  The  drawing  is  excellent, 
and  the  composition,  owing  to  the  manner  in  which  the 
persons  are  bound  to  one  another  by  the  cloak  of  the  Vir- 
gin, and  to  the  way  in  which  the  figures  of  Francesco 
and    St.   Elizabeth    are    introduced,    is    masterly.      The 


E.  Ilautecueur,  I'lint. 

1374-     The  Virgin  of  the  Victory. — Jfaiif>/ena. 
80 


Sail;  VI 


MESSINA  TO   LIONARDO  81 

scheme  of  colour  is  even  superior  to  the  drawing.  A 
certain  unity  of  tone  is  given  by  the  red  garment  of  the 
Virgin,  the  head-dress  of  St.  Longinus  and  the  branch  of 
coral,  and  red  is  scattered  here  and  there  in  the  rich  garlands 
which  are  like  painted  Roman  bas-reliefs.  It  is  a  work 
w'hich  has  been  carefully  thought  out  in  all  its  harmonious 
details  and  unites  and  combines  the  characteristics  of  an- 
cient and  modern  art. 

Mantegna  had  the  good  fortune,  which  few  enjoy,  to 
maintain  the  same  high  level  up  to  old  age,  although  that 
old  age  was  not  exempt  from  cares.  This  excellence  is 
shown  in  two  mythological  pictures  painted  in  the  last 
years  of  his  life. 

Elizabeth  of  Este,  who  ordered  one  of  these,  herself  chose 
the  subject  "The  Victory  of  Virtue  over  Vice"  (No.  1376). 
^Minerva,  armed  with  a  lance  and  preceded  by  two  nymphs, 
is  seen  to  burst  from  a  wood;  at  sight  of  her  the  Vices  fly, 
and  among  them,  Venus,  represented  as  standing  on  the 
back  of  a  centaur.  The  Virtues,  in  their  turn,  appear  in  a 
halo  of  clouds.  An  inscription  on  the  figure  on  the  left 
is  intended  to  make  this  poetic  fable  intelligible.  Andrea 
^Vlantegna  knew  how  to  make  the  most  of  this  ungrate- 
ful subject.  The  figure  of  Venus  contributes  the  perpen- 
dicular effect  which  gives  equilibrium  to  the  picture.  The 
dominant  lines,  on  the  left,  pass  over  Minerva  and  are 
directed  towards  the  fluttering  cupids,  while  a  descending 
curve,  on  the  opposite  side,  is  formed  by  figures  carrying 
Avarice  and  Ingratitude.  The  picture  is  painted  in  Avater 
colours,  a  process  requiring  particular  care,  in  which  Man- 
tegna excelled  and  to  which  he  remained  faithful  all  his 
life. 


82 


PAIN nXC.S  OK  THK   LOUVRE 


"Parnassus"  (No.  l.'JTo),  is  an  oven  superior  work.  On 
a  natural  eminence  of  rocks,  Mars  is  taking  kuive  of  Venus 
and,  below,  the  Nine  Muses  are  dancing  to  the  music  of 
Apollo's  lyre.     On  the  right  is  Mercury  leaning  on  Pega- 


E.  Haulci-u;ur,  I'liut. 

1376.      Victory  of  Virtue  mm-  Vice.  —  Mantegna. 


Salle  VI 


sus  and,  from  the  top  of  the  rocks,  Cupid  blows  a  pipe  at 
Vulcan  in  his  forge.  Until  Raphael,  Italian  art  never  dis- 
played so  much  charm  and  so  much  grace  of  movement  as 
is  found  here.  The  pose  of  each  Muse  is  different  from  that 
of  the  rest,  and  yet  they  are  all  equally  graceful.  These 
figures,  drawn  from  the  antique,  far  from  being  painted 
statues,  seem  instinct  with  life.     Mars  and  Venus  form 


MESSINA   TO  LIONARDO 


83 


a  group  of  statuesque  beauty.  The  lands;  ape,  which  we 
see  through  a  vista,  with  its  blue  mountains  and  green 
fields,  is  worthy  of  being  the  abode  of  the  gods.  The  whole 
is  bathed  in  a  bright  light,  the  dazzling  body  of  Venus 


t..  llautccujur,  Phot. 


Sai:e  VI 


1375.     Parnassus. — Mantegna. 


stands  out  against  a  background  of  dark  green,  and,  in  the 
gloomy  cavern  of  Vulcan,  we  see  the  gleam  of  his  red  cloak. 
"WTien  Mantegna  died  at  Mantua,  in  1506,  the  art  of  ]\Ian- 
tua  died  with  him,  but  his  influence  remained  and  dom- 
inated all  Northern  Italy.  This  influence  may  be  seen  in 
the  "  Ecce  Homo  "  (No.  1393)  by  Bartolommeo  Montagna 
of  Vicenza  (died  1523  ?),  who  followed  in  his  footsteps. 


8i 


PAINTINGS   OF  THE   LOUVRE 


Montagna  also  shows  himself  to  have  been  influenced  by 
the  Bellinis,  as  may  be  seen  in  the  agreeable  picture 
called  "Three  Young  Musicians"  (No.  1394). 


H.  HautLLUur,  Pilot.  Salle  VI 

131S.      The    ^^Irghl  and   Child. — Attributed  to  O irolamo  dai  Libri. 


The  school  of  Verona  also  was  affected  by  Andrea  Man- 
tegna,  and  this  is  evident  in  a  picture  called  "  The  Virgin 
and  Child"  (No.  1318)  attributed  to  Girolamo  dai  Libri, 
(1474-1556)  butwhich  might  better  be  attributed  to  Carotto 


MESSINA  TO    LIONARDO 


85 


in  whom  the  characteristics  of  the  art  of  Mantua  are  strong- 
ly mingled  with  Venetian  influences.^  This  exchange,  this 
"traffic"  of  ideas  between 
these  two  artistic  centres  is 
one  of  the  most  interesting;  of 
studies.  A  characteristic  of 
the  school  of  Verona  is  the 
very  rich,  light  colouring 
which  clearly  distinguishes  it 
from  the  Venetian  School. 

In  Lombardy,  the  influ- 
ence of  ^Nlantegna  was  greatly 
attenuated  by  local  character- 
istics. These  consisted  in  a 
certain  calm,  a  certain  sweet- 
ness of  expression  peculiar  to 
the  works  which  preceded 
Lionardo,  as,  for  example, 
in  the  case  of  Borcoo-none 
(1450-1523).  In  his  "  Presen- 
tation in  the  Temple"  (No. 
1181),  the  faces,  although 
natural  and  animated,  have 
a  severely  mute  expression. 
With  the  Virgin,  emotion  is 
under  control;  and,  in  the 
Child,  it  is  only  expressed  by 

an  attitude  of  affection.  In  the  two  neighboring  portraits, 
"St.  Peter  of  Verona  and  an  Unknown  Woman"  (No. 
1182)  and  "St.  Augustine  and  a  Donor"  (No.  1182a), 
notwithstanding  the  pains    taken  in  the  execution,   the 


E.  Hautecu.'ur,  Phot. 


Salle  VI 


1182  A.     St.  Augustine  and  a 
Donor.  —  Borgognone. 


86  I'AINTINGS   OV  THE   LOUVRE 

pleasinn;  iinprcssion  left  by  their  l)ettcr  (jualities  is  spoiled 
by  the  grey  tint  of  the  faces.  This  greyish  tint  is  again 
found  in  IJartolommeo  Suardi  il  Braniantino  (died  1530). 
His  "  Circumcision  "  (No.  1.54.5)  is  dark  in  tone,  and  there 
is  again  the  same  expression  of  calm  and  inward  devotion 
in  the  face  of  the  Virgin,  while  the  livid  and  aged  man 
on  the  right  reminds  us  of  the  "Presentation  in  the 
Temple"  (No.  1181)  by  Borgognone. 

Piero  Francesco  Sacchi  di  Pavia  (after  1527),  author  of 
the  "  Four  Fathers  of  the  Church  "  (No.  1488),  is  generally 
an  indifferent  master,  but  appears  to  us  here  to  good  ad- 
vantage. The  psychological  characteristics  of  each  figure 
are  carefully  studied.  On  the  left  is  St.  Gregory,  the 
man  of  unshakable  and  blind  faith,  with  the  Scriptures 
open  before  him.  Next  is  St.  Augustine,  the  philosopher, 
listening  to  and  writing  down  what  the  Holy  Ghost,  in 
the  form  of  a  Dove,  is  communicating  to  him.  Then 
comes  St.  Jerome,  in  ecstasy  turning  to  the  angel.  Finally 
we  see  St.  Ambrose  mending  his  pen,  and  by  his  calmness 
and  simplicity  he  forms  a  decided  contrast  to  the  others. 
The  colouring  is  light,  the  execution  of  the  details  is  careful 
without  being  overdone,  and  the  wide  blue  landscape  is 
imposing. 

To  the  Lombard  school  at  this  remote  period  belonged 
likewise  two  masters,  both  of  whom  had  little  charm. 
The  one,  Fasoli,  called  Lorenzo  di  Pavia,  who  died  about 
1520 (?),  crowded  too  many  figures  into  his  picture  called 
"The  Family  of  the  Holy  Virgin"  (No.  1284),  thus  pro- 
ducing a  medley  of  heads  and  limbs.  The  grouping  of 
the  other,  Bartolommeo  Bononi,  who  painted  at  the  be- 
ginning of  the  sixteenth  century,  is  good  in  his  picture 


MESSINA  TO  LIONARDO 


87 


E.  Hautec»_t:ur,  Phot. 


Salle  VI 


1488.     Four  Fathers  of  the  Church.  — SaccM. 


called  "The  Virgin  and  Child"  (Xo.  1174),  but  the  col- 
ouring is  weak  and  reminds  us  of  a  chromo-lithograph. 

The  manner  of  the  school  of  Ferrara  is  quite  the  oppo- 
site of  that  of  the  peaceful  and  gentle  school  of  Milan.  At 
Ferrara  the  old  Cosimo  Tura  (1432-1495),  called  Cosme. 
is  the  initiator  of  a  severe  school.     In  his  "Pieta"  (No. 


88 


PAINTINGS  OF  THE  LOUVRE 


155(5),  there  is  no  trace  of  composition  properly  speaking. 
The  emaciation  of  the  body  of  Christ,  which  rests  on 
the  Virgin's  knees,  is  so  distinct  as  to  cause  it  to  resemble 
a  skeleton.  The  faces  contracted  by  grief  have  nothing 
pleasing,  and  the  action  is  exaggerated.  But,  neverthe- 
less, there  is  great  power  in  this  work  and  a  daring  and 


E.  llaiitecoeur,  ?liut. 


Salle  VI 


1556.     Pieta.  —  Cusimo  Tura. 


conscious  realism.  The  picture  is  painted  in  water-col- 
ours, but  the  colouring  is  as  crude  as  enamel,  and  the  hues 
are  inharmoniously  juxtaposed.  The  folds  of  the  drapery 
are  too  fine  and  abruptly  broken  up,  and  the  shadows  are 
too  strong.  The  same  appUes  to  his  "  Portrait  of  a  Saint " 
(No.  1557). 

Another  example  of  the  hard  style  of  the  primitive  school 
of  Ferrara  is  the  small  picture  called  "The  Virgin  and 
Child"  (No.  1523),  attributed,  probably  wrongly,  to 
Gregorio  de  Schiavone.^"  The  colours  are  loud  and 
shine  like  lacquer.    The  heads  are  ugly,  and  the  drapery 


MESSINA  TO   LIONARDO  89 

is  as  stiflf  as  metal.  The  St.  Apollonia  and  St.  Michael  in 
the  pictures  Nos.  1677  a  and  b  are  also  in  this  manner, 
but  there  is  a  modification  showing  a  transition  between 


E.  II  .    ■  r,  rli-t,  Salic  VI 

1523.      The  Virgin  and  Child,  — Attributed  to  Gregorio  de  Schiavone. 

Cosimo  Tura  and  his  pupil,  Lorenzo  Costa  (1460-1535), 
the  most  agreeable  artist  of  the  school  of  Ferrara,  who  was 
one  of  the  first  to  discover  the  secret  beauties  of  nature. 
His  natural  gentleness  counterbalanced  the  severe  manner 


90 


I'  \  IN  IIXC.S   ()!•'  THE   LOUVRR 


of  his  master.  He  readily  assimilated  foreign  elements 
and  was  inspired  by  the  school  of  Bologna,  wliere  Francia 
was  his  companion,  and  by  that  of  ISIantua  where  he  came 
under  the  strong  influence  of  Mantegna. 


E.  Hautcmnr,  Plu.t. 


Salle  VI 


1261.     The  Court  of  Isabella  of  Este,  — Lorenzo  Costa. 


All  this  we  see  in  one  of  Costa's  most  attractive  creations 
painted  at  an  advanced  age,  "The  Court  of  Isabella  of 
Este"  (No.  1261).  Here  we  have  an  excellent  landscape 
with  a  moist  atmosphere  and  dark  trees.  On  the  glisten- 
ing water  floats  a  galley,  and  there  is  an  expanse  of  green 
grass,  the  different  levels  of  which  are  skilfully  used  as  ele- 
ments of  composition.     Grouped  upon  it  in  a  semicircle 


MESSINA  TO  LIONARDO  91 

are  persons  writing  or  playing  music,  a  woman  armed  with 
a  bow,  and  a  slayer  of  dragons.  In  the  middle  distance 
is  Isabella  who  is  being  crowned  by  a  cupid.  In  front  are 
seated  two  beautiful  young  girls.  Only  the  colouring  and 
preference  for  red  and  strong  blues  recall  the  manner  of 
Cosimo  Tura.  Isabella's  inclined  and  inert  attitude 
is  borrowed  from  Francia,  while  the  slayer  of  dragons 
is  taken  from  ^Nlantegna.  That  which  peculiarly  be- 
longs to  Costa  in  this  picture  is  the  charming  and  velvety 
quality  of  the  landscape,  denoting  his  passionate  love  for 
the  beautiful  in  nature.  ^^  This  is  one  more  example  of  the 
richness  arising  from  the  association  of  several  influences. 

A  still  more  remarkable  example  of  this  kind  is  the 
picture  by  Domenico  Panetti  (died  15 12),  "The  Nativity" 
(No.  1401),  in  Salle  IX,  opening  from  the  Long  Gallery. 
This,  by  its  enamel-like  brilliancy  of  colour  and  by  the 
hardness  of  the  drawing  again  shows  the  manner  of  the 
school  of  Ferrara,  but,  in  its  type  of  face  and,  above  all, 
in  the  simple  and  careful  interpretation  of  the  landscape, 
it  shows  the  influence  of  the  schools  of  Bologna  and 
of  Francia. 

Francesco  Raibolini,  called  II  Francia  (1450-1517),  be- 
fore he  became  a  painter,  had  commenced  his  career  as  a 
jeweller  and  engraver.  But  it  seems  as  if  the  hardness  of 
metal  was  incompatible  with  the  sweetness  of  his  temper- 
ament, for  he  turned  to  painting,  bringing  to  it  the  scrupu- 
lous precision  and  distinctness  of  detail  which  he  borrowed 
from  the  exercise  of  his  first  art.  He  was  inspired  by 
Mantegna,  and  many  of  his  ideas  were  similar  to  those 
of  Costa,  but  he  had  a  depth  of  feeling  unknown  to  these 
two  artists.     One  may  call  him  the  master  of  movement 


92 


TAINTINGS   OF  THE  LOUVRE 


and  gesture.  In  his  "Christ  on  the  Cross"  (No.  1436) 
there  is  grief  and  despair  in  the  incHned  position,  and  in 
the  expression  and  gesture.  The  tense  position  of  the  hands 
and  body  of  St.  John  and  the  inertness  of  the  arms  of  the 


Uraun,  Clement  ,^  Cie.,  Phot.  Sail.-  IX 

1401.      The  Xativiii/.  — Panelti. 

Virgin  indicate  the  same  emotion  in  both.  But  the  figure 
of  Joseph  lying  at  the  foot  of  the  cross  is  distorted  and  not 
pleasing.  The  dark  cross,  on  which  the  paleness  of  the 
body  of  Christ  stands  out  in  relief,  is  very  effective.  The 
colours  are,  moreover,  brilliant,  and  the  shadows  strongly 
marked. 

The  intensity  of  Perugino  and  the  sentiment  of  Francia 


MESSINA  TO   LIONARDO 


93 


E.  Hautecccur,  Phot.  Salle  VI 

1436,     Christ  on  the  Cross. — Francia. 


were  too  closely  allied  not  to  influence  each  other  recipro- 
cally. Traces  of  this  influence  are  to  be  seen  in  Francia's 
small  picture  called  "The  Nativity"  (No.  1435)  where  the 
face  of  the  Virgin  bears  very  characteristic  traces  of  the  man- 
ner of  Perugino.     Francia  was  not  to  lose  his  own  pecuhar 


94  PAIXTIN'GS   OF  THE  LOUVRE 

manner,  liowevcr.  "The  Virgin  and  Child  with  a  Her- 
mit" (No.  14.S7)  is  a  genuine  and  good  example  of  his 
style,  but  was  not  painted  by  him.  The  colours  are 
brilliant  and  the  action  spirited.     The  expression  of  gen- 


ii. 11. li/,      .  ....  I'll.. I.  Salle VI 

1437.      The  Virgin  and  Child.  — By  a  Pupil  0}  Francia. 

tie  earnestness  on  the  face  of  the  hermit  and  the  broadly 
treated  landscape  are  certainly  in  his  manner. 

To  the  school  of  Francia  belongs  the  pleasing  picture 
called  "The  Virgin  and  Child  Surrounded  by  Saints" 
(No.  1436  a).  The  Virgin  is  seated  on  a  throne  before 
a  curtain  stretched   between  two  columns.      The  Child 


MESSINA  TO   LIONARDO 


95 


is  exquisitely  natural  and  leans  toward  St.  John  the 
Baptist,  and  quite  in  the  foreground  is  St.  Francis.  On 
the  other  side  St.  Sebastian,  with  ecstatically  raised  eyes, 
leans  against  a  column,  while  in  front  of  him  is  St.  George 
in  armour,  and  at  the  feet  of  the  Virgin  an  angel  plays  on 


li.  lL;L:i-...i;r,FhMt.  Salle  IX 

13S1.      Christ  carrying  the  Cross.  — Marches!. 


a  musical  instrument.  Although  this  work  is  weak  in  col- 
ouring, it  is,  on  the  other  hand,  very  sympathetic,  owing 
to  its  sweetness  of  expression  and  its  excellent  composi- 
tion. The  inclined  position  of  the  Child  binds  the  central 
group  most  naturally  to  that  on  the  side.  Naturalness  and 
strength  in  the  figures  are  observable  throughout  the  pic- 
ture; on  one  side  are  the  ascetic  St.  John  the  Baptist  and 
St.  Francis  in  a  more  or  less  careless  position ;  on  the  other 


96 


TAIN  TIXGS  OF  THE  LOUVRE 


are  the  graceful  St.  Sebastian  and  beside  him  the  energetic 
St.  George.  We  have  here  a  work  presenting  all  the  fea- 
tures of  the  sixteenth  century  art. 

Thus  the  characteristics  of  the  art  of  the  sixteenth  cen- 
tury also  penetrated  the  schools  of  Ferrara  and  Bologna, 
and  in  the  latter  place  they  were  fully  developed  by  Giro- 


E.  Uautecurur,  I'lK.t.  Salle  VI 

13S4.     The  Nativity.  —  Massone. 


lamo  Marchesi  (1480  .'^-1550),  a  pupil  of  Francia,  and 
author  of  "  Christ  Carrying  the  Cross  "  (No.  1381),  in  Salle 
IX.  We  see  here  an  expression  of  acute  grief  in  the  features 
of  the  Saviour,  and  this  is  a  masterly  work  of  perfect  tech- 
nique. 

Two  pictures  claim  our  attention  which  are  somewhat 
outside  the  evolution  which  we  have  just  been  studying. 
One  by  Giovanni  INIassone,  a  picture  in  three  parts  called 
"The  Nativity,  with  Pope  Sixtus  and  Cardinal  Giuliano 
della  Rovera"  (No.  1384),  was  painted  towards  the  end  of 


MESSINA  TO   LIONARDO  97 

the  fifteenth  century,  and  shows  that,  in  architecture  and 
in  painting,  the  Piedmontese  felt  the  strong  influence  of 
INIantegna.  But  the  predominance  of  dark  tints  which 
makes  this  picture  sombre  shows  it  to  be  of  the  school  of 
Lombardy.  The  other  picture,  "  The  Annunciation  "  (No. 
1676),  an  altar  screen  the  colouring  of  which  is  entirely 
light,  seems,  by  the  profusion  of  its  gilded  ornamentation 
as  well  as  by  its  background  consisting  of  a  landscape  of 
Italian  fields,  to  belong  to  an  unknown  local  school,  per- 
haps that  of  Genoa. 

We  now  reach  the  greatest  epoch  in  the  history  of  art, 
and  the  first  master  among  its  exponents  was  Lionardo  da 
Yinci, 


LIONARDO  TO  RAPHAEL 

IN  I^ionardo  da  Vinci  (14.52-1.510)  every  talent  was  cora- 
l)ined  in  one  man.  All  that  humanity  had  up  to  that 
time  produced  constituted  the  foundation  of  his  genius. 
His  works  are  still,  to-day,  an  enigma  from  the  point  of 
view  of  treatment.  His  great  mind  seemed  to  solve  all 
problems.  As  a  military  engineer,  he  made  plans  of  forti- 
fications which  are  still  modern.  He  conceived  the  pow  er 
of  steam  and  even  constructed  flying  machines.  But  he 
produced  little  because  even  perfection  did  not  satisfy  him. 
He  was  born  at  Vinci  in  1452  and  was  a  natural  son  of  the 
notary  Ser  Pier.  At  an  early  age  he  was  admitted  to  the 
studio  of  Verrocchio,  and  the  angels  which,  as  pupil,  he 
painted  into  Verrocchio's  picture,  "The  Baptism  of 
Christ,"  show  an  incomparable  superiority  over  the  work 
of  his  master. 

Lionardo  remained  in  Florence  till  148.5  and  then  en- 
tered the  service  of  Ludovico  il  Moro  in  ^lilan,  where  he 
spent  fourteen  happy  years,  universally  admired  as  a  man, 
a  sculptor,  a  naturalist  and  a  painter.  The  downfall  of 
the  Sforzas  threw  him  into  a  changing  and  agitated 
existence.  He  first  went  to  Venice,  Avhere  he  remained 
till  1503,  thence  to  Romagna  under  Caesar  Borgia,  after- 
wards to  Florence  in  1506,  next  to  Rome,  and  from  there 
back  again  to  jNIilan.  In  1507  he  entered  the  service  of 
Francis  I,  but  only  settled  permanently  in  France  in  1516, 
and  here  he  remained  up  to  the  time  of  his  death  which  took 

98 


LIONARDO  TO   RAPHAEL 


99 


place  in  the  Chateau  Cloux  at  Amboise  in  the  year  1519. 
Ill  health  during  the  last  part  of  his  life  prevented  him 
from  doing  any  great  work  for  his  protector  and  admirer, 
Francis  I. 

There  is  one  composition  which  the  name  of  Lionardo 
recalls  to  all  minds,  a  work  equalled  in  renown  only  by 
"  The  Sistine  Madonna  "  of  Raphael.     This  is  "  The  Last 


E.  HauteccLiir,  I'liot.  Salle  VI 

1603.      The  Last  Supper.  —  Copy  by  Oggiuiw  of  Lionardo' s painting  in  Milan. 

Supper,"  in  INIilan.  What  we  possessed  of  the  original  at 
Milan  was  at  best  scarcely  more  than  a  ruin,  and  has,  of 
late,  entirely  perished.  Lionardo's  experiments  in  the 
mixture  of  oils,  which  in  this  instance  proved  to  be 
perishable,  in  addition  to  damages  from  the  vandalism 
which  transformed  into  a  stable  and  granary  the  hall  in 
which  the  picture  was  painted,  have  resulted  ultimately 
in  its  utter  destruction  and,  for  this  reason,  the  value  of 
contemporary  copies  have  become  of  singular  impor- 
tance. The  copy  in  the  Louvre  (No.  1603),  by  Marco 
Oggiono,  in   the  Long  Gallery,  is  an  example   of  this. 


100  I'AIXTIN'GS   OF  THE  LOUVRE 

The  moniciit  represented  in  this  picture  is  tlie  one  in 
whicli  Christ  has  just  said,  "One  of  you  will  betray 
Me,"  and  in  the  midst  of  the  af^itation  which  these  words 
provoke,  the  blaster  is  the  oidy  one  who  remains  calm. 
On  either  side,  without  laboured  effect,  are  two  groups, 
each  of  three  Apostles.  Christ  thus  becomes  the  centre 
of  the  picture  and  stands  out  in  relief  against  the  landscape 
in  the  background.  Judas  and  St.  John  are  united  in  the 
same  group  and  thus  form  a  striking  contrast.  The  various 
positions  of  the  heads  are  very  remarkable.  Christ  is  in  full 
face,  the  figures  at  the  extremities  of  the  table  are  in  profile, 
while  the  perpendicular  walls  allow  us  to  appreciate  the 
attitudes  of  the  figures.  The  hands  are  full  of  character. 
Christ  appears  to  be  saying:  "So  has  My  Father  decreed: 
let  His  Will  be  done."  Judas  grasps  his  purse,  St.  John 
gently  joins  his  hands,  while  St.  James,  on  the  contrary, 
opens  his  wide,  as  if  saying:  "Master,  it  is  not  possible." 
The  greatness  of  this  work  consists  in  that  we  understand 
the  scene  without  effort.  Lionardo's  "  Last  Supper"  dif- 
fers essentially  from  all  preceding  creations,  and  all  those 
who  have  since  attempted  this  subject  have  been  inspired 
by  it. 

"The  Virgin  of  the  Rocks"  (No.  1599)  is  a  composi- 
tion truly  in  the  style  of  Lionardo  and  consists  of  a  trian- 
gular group  in  the  centre  of  which  is  the  Virgin.  We  here 
see,  for  the  first  time,  the  harmonious  blending  of  figures^ 
in  the  midst  of  an  unusual  landscape.  Under  pro- 
jecting rocks  on  the  edge  of  a  pool,  the  Virgin  and 
an  angel  watch  the  Infant  Jesus  as  he  blesses  St. 
John,  who  raises  his  hands  as  if  in  prayer.  The  wild 
and  rocky  landscape    seems    to  belong  to  the  world  of 


LIONARDO  TO   RAFMAELi 


5         J      3  ^ 


101 


dreams.      The     expression    of    the    Virgin    shows    the 
first  appearance  of  that  mysterious  smile  to  which   Lio- 


E.  Hautecceur,  Phot. 


Salle  VI 


1599.     The  Viry'tn  of  the  Bocks.  —  Lionardo. 

nardo's  "  Monna  Lisa "  owes  its  greatest  charm.  As  is 
always  the  case  with  Lionardo,  there  is  in  the  treat- 
ment  of   the  hands    an  energy  of   expression  absolutely 


102  PAINTINGS  OF  THE  LOUVRE 

unknown  till  tlion,  and  they  arc  a  study  in  themselves. 
Certain  archaic  traces  still  remain  in  this  work;  the 
modcllint;  of  the  bodies  of  the  children  is  of  a  metallic 
clearness  and  recalls  the  manner  of  Verrocchio,  as  do 
the  angnlar  folds  of  the  drapery.  The  last  sij^ns  of  fif- 
teenth century  influences  appear  in  the  bony  structure 
of  the  heads.  Some  of  these  traces  are  also  noticeable  in 
another  early  work  of  Lionardo,  "La  Belle  Ferronniere" 
(So.  lOOO),  which  is  now  considered  by  most  critics  to  be 
the  portrait  of  lAicrezia  C'rivelli.  The  freshness  of  youth 
and  the  thoughtful  expression  of  the  eyes  exercise  an  irre- 
sistil)lc  attraction.  Here  the  height  of  the  forehead  is 
accentuated  and  ornamented  by  a  jewel  attached  to  a  nar- 
row band  of  silk.  (High  foreheads  were  at  that  time  much 
in  fashion,  and,  to  create  this  effect,  women  of  quality 
were  accustomed  to  pluck  out  the  hair  from  the  forehead 
and  even  from  the  eyebrows.)  The  rounded  body  seems 
to  breathe  under  the  lacing  of  the  red  robe  which  fur- 
nishes it  A\4th  a  luminous  setting.  The  oval  of  the  face 
stands  out  a  little  too  sharply,  but  this  is  due  to  the 
three-quarters  pose.  The  picture  Xo.  1605  is  now  held 
to  l)e  the  portrait  of  La  Belle  Ferronniere  and  most 
certainly  belongs  to  the  school  of  Lionardo. 

The  most  perfect  work  of  art  ever  produced  is,  perhaps, 
Lionardo's  portrait  of  Monna  Lisa,  also  called  "  La  Jocon- 
da  "  (Xo.  1601 ;  see  Frontispiece).  When  Lionardo  separat- 
ed himself  from  it  at  the  end  of  four  years'  work,  he  de- 
clared it  to  be  still  unfinished.  This  work  has  not  escaped 
the  consequences  of  unfortunate  technical  experiments  in 
the  preparation  of  oils.  The  light  tints  of  the  skin  and 
the  brightness  have  disappeared,  and  the  underlying  grey 


LIONARDO   TO   RAPHAEL 


103 


E.  Hautecoeur,  Phot.  Salle  VI 

1600.     Portrait  of  Lucrezia  Crivelli.  —  Lionardo. 

coating  is  visible.  "Let  him,"  says  Vasari,  'Svho  wishes 
to  know  to  what  degree  art  can  imitate  nature,  contem- 
plate this  picture.  It  is  rather  a  divine  work  than  the 
work  of  a  man."  That  which  strikes  us  is  the  mobility 
in  this  apparently  immobile  figure.  Monna  Lisa  is  seated 
in  a  low  chair  on  the  left  arm  of  which  she  leans  and 


lot  PAIXTIN'GS   OF   THE  LOUVRE 

lif^litly  rests  an  arm;  licr  lonf;  narrow  eyes  seem  on  the 
point  of  lan<rnorously  closinfj;;  the  corners  of  the  mouth  are 
a  little  raised,  and  there  is  a  mysterious  and  indescril)al)le 
smile;  the  hands  are  incomparahly  moulded,  and  one  may 
almost  feel  their  warmth  and  velvety  softness.  Lionardo 
was  the  first  artist  who  was  altle,  in  j)aintin(;,  to  ren- 
der llie  texture  and  suj)|)leness  of  the  skin.  "^Hie  hair 
is  delicately  and  carefully  treated,  there  are  half  tints 
on  the  cheeks,  and  a  pale  li<>;ht  reflected  from  the  folds 
of  the  green  gown  and  the  yellow  sleeves  gently  touches 
the  liands.  A  stone  balustrade  separates  the  figure 
from  tlu'  landscape  and  this  serves  to  incline  it,  as  it 
were,  toward  the  spectator,  at  the  same  time  leaving 
it  coni>ected  with  the  background.  Many  and  deep 
are  the  distances  which  we  see  in  these  blue  moun- 
tains, and  it  is  a  landscape  of  fantastic  dreamland  far 
beyond  our  reach,  for  the  little  bridge  is  to  indicate 
distance  and  seems  to  lead  to  other  worlds.  Much  has 
alreadv  been  written  concerning  the  "Monna  Lisa," 
but  no  one  has  fathomed  all  the  enigmas  of  this  sphinx- 
like face.  Walter  Pater,  in  "The  Renaissance,"  says 
of  this  mystic  creation:  "The  presence  that  thus  rose  so 
strangely  beside  the  waters,  is  expressive  of  what  in  the 
ways  of  a  thousand  years  men  had  come  to  desire^  Hers 
is  the  head  upon  which  all  'the  ends  of  the  world  are 
come,'  and  the  eyelids  are  a  little  weary.  It  is  a  beauty 
wrought  out  from  within  upon  the  flesh,  the  deposit, 
little  cell  by  cell,  of  strange  thoughts  and  fantastic 
reveries  and  exquisite  passions.  Set  it  for  a  moment 
beside  one  of  those  white  Greek  goddesses  or  beauti- 
ful   women    of    antiquity,     and    how     would     they    be 


LIONARDO   TO   RAPHAEL 


105 


E.  Hautecoeur,  Pilot. 


Salle  VI 


1597.     St.  John  the  Baptist.  — Lionardo. 


troubled  by  this  beauty,  into  which  the  soul  with  all 
its  maladies  has  passed!  A\\  the  thouj^hts  and  experi- 
ence of  the  world  have  etched  and  moulded  there,  in 
that  which  they  have  of  power  to  refine  and  make  ex- 
pressive the  outward  form,  the  animalism  of  Greece, 
the  lust  of  Rome,  the  reverie  of  the  middle  age  with  its 


10()  PAINTINGS   OF  TllK   LOUVRE 

si)iritual  anil)iti(m  and  ima<:;inativc  loves,  the  return  of 
the  Pa<2;an  world,  the  sins  of  the  liorgias.  She  is  older 
than  the  rocks  amon<j  which  she  sits;  like  the  vampire, 
she  has  been  dead  many  times,  and  learned  the  secrets 
of  the  grave;  and  has  been  a  diver  in  deep  seas,  and 
keeps  their  fallen  day  about  her;  and  trafficked  for  strange 
webs  with  Eastern  merchants."  It  would  ])e  unfair  to 
compare  any  other  work  of  Lionardo  or  of  his  contem- 
poraries with  tliis  wonderful  creation. 

The  "St.  John  the  Baptist"  (No.  1597),  which  has  been 
attril)uted  to  Lionardo,  is  a  picture  well  executed  by  a  pupil 
and  is  but  a  variation  of  the  "  Monna  Lisa."  The  magic 
smile  has  here  become  less  subtle  and  enlarges  the  mouth, 
and  the  myster\'  of  the  expression  is  lost.  But  the  charm 
of  the  skin  remains  and  the  surface  vibrates  with  lights 
which  play  upon  and  animate  the  modelling  of  the  neck. 
There  is  a  tradition  that  a  Bacchus  painted  by  Lionardo 
was  brought  to  France  at  the  commencement  of  the  six- 
teenth century,  but  we  cannot  identify  this  work  with  the 
"Bacchus"  of  the  Louvre  (No.  1(50^2).  There  is  too 
much  sameness  in  the  movement  of  the  hands,  the  left 
le<r  rests  too  heavilv  on  the  right,  and  the  treatment  of  the 
vegetation  in  the  foreground  is  almost  trifling.  But  there 
is  something  of  the  spirit  of  Lionardo  in  the  brilliant  look 
of  those  open  and  living  eyes  and  in  the  treatment  of 
the  landscape  with  its  mysterious  depth.  Though  this 
work  is  not  by  Lionardo,  it  must  have  been  inspired  by 
him. 

But  the  picture  called  "The  Virgin,  the  Infant  Jesus, 
and  St.  Anne"  (No.  1598),  in  the  Salon  Carre,  has  all  the 
characteristics  of  Lionardo.     It  is  only  in  Michael  Angelo 


LIONARDO   TO   RAPHAEL 


107 


E.  Hautec^rur.  I'liMt.  Salun  Carri? 

159S.     The  Virgin,  the  Infant  Jesus  and  St.  Anne.  —  Lionardo. 

that  we  find  such  remarkable  concentration  in  a  com- 
position. It  would  seem  as  if  Lionardo  here  washed  to 
solve  the  problem  of  fi^rouping  in  a  limited  space.  This 
group  forms  a  triangle.  St.  xA.nne  is  entirely  full  face, 
and  smiles  at  the  Virgin  seated  on  her  lap.  The  In- 
fant  Jesus  is    engaged    in    childish    play  with   a  Iamb 


108  TAIN  riNGS  OF  THE   LOUVRE 

which  He  is  soizin«,f  l)y  the  cars,  while  He  turns  toward 
the  Vir«'in  l)en(Hn<:  al)()ve  Him.  as  if  to  draw  lier  attention 
to  His  sport.  These  different  attitudes  prochice  a  rich- 
ness of  action  contrastin<i;  w  ith  Uu-  vertical  lines  furnished 
l)V  the  fiirure  of  St.  Anne.  These  are,  however,  a  little  l)ro- 
ken  by  rt-ason  of  her  bent  arm  and  the  inclined  head  of 
the  Viririn.  If  one  considers  the  smiles  on  the  faces  of  the 
women  and  the  different  means  employed  to  express  ma- 
ternal love,  it  is  impossible  to  attribute  this  work  to  any 
other  than  IJonardo,  though  it  unfortunately  bears  traces 
of  having  been  left  unfinished  by  the  artist.  Here  again 
we  find  the  mysterious  blue  landscape  and  the  mountains 
with  their  wild  and  abrupt  summits  similar  to  those  in 
"Tlie  Virgin  of  the  Rocks"  and  the  "  Monna  Tvisa." 

Lionardo  himself  having  achieved  such  perfection,  it  was 
impossible  for  his  pupils  and  imitators  to  surpass  or  even 
equal  him.  however  much  they  might  assimilate  the  ex- 
pression and  manner  of  his  school.  Among  these  was 
Cesare  da  Sesto  (1480-1521).  "The  Virgin  of  the 
Scales"  (So.  1604),  now  known  to  be  by  Sesto,  is  but  a 
variation  of  "The  Virgin,  the  Infant  Jesus,  and  St. 
Anne,"  but  is  lacking  in  construction.  The  Virgin,  to 
whom  an  angel  presents  the  scales,  and  the  Child  are  too 
symmetrical.  The  attitude  of  the  heads  of  the  Mother 
and  Child  are  similar  and  produce  an  awkward  effect; 
although  they  are  well  bound  together  with  the  angel 
and  St.  John,  Elizabeth  is  quite  outside  the  group  to 
the  left.  She  is  borrowed  from  ^lantegna  (see  No.  1374) 
and  here  only  serves  as  an  accessory  without  any  rela- 
tion to  the  general  scheme  of  the  composition. 

The  original  picture  of  which  "  The  A'irgin  and  Infant 


LIONARDO   TO   RAPHAEL 


109 


E.  Hautecueur,  Phut.  Salle  VI 

1604'      The  Virgin  of  the  Scales.  —  Cesare  da  Sesto. 

Jesus"  (No.  1G03  a)  is  an  insipid  Flemish  copy,  must 
have  been  by  one  of  the  master's  imitators  and  not  by 
Lionardo  himself.  As  for  "  The  Annunciation "  (No. 
1602  a),  Mr.  Berenson,  with  all  the  weight  of  his  au- 
thority, considers  this  a  work  of  Lionardo's  youth. 

Though   none   of   Lionardo's   successors   attained   his 


I  10 


rAiNiiNt;s  oi'  Till-:  louvre 


])orfoction,  some  approached  it  superficially.  This  is 
the  case  with  Marco  da  0<^<iji()iio  (1470-lo3()),  whose 
"Virgin   and    Child"  (No.    1382  a)  is  a  natural  and  ex- 


E.  HauteccEur,  Phot.  Salle  VI 

1382.     The  Holy  Family.  —  Oggiono. 

pressive  rendering  of  maternal  happiness.  There  is 
much  movement  and  expression  in  the  action  with  which 
the  Virgin  holds  and  presses  the  Child  to  her.  It  is  from 
Lionardo  that  this  artist  learned  all  that  can  be  expressed 


LIONARDO  TO   RAPHAEL  111 

in  hands  and  attitudes.  The  face,  Avith  its  delicate 
smile,  is  also  borrowed  from  Lionardo,  but  the  colour- 
ing is  colder,  and  the  expression  of  the  Child  is  not  natural. 
His  "Holy  Family"  (No.  1382),  when  compared  with 
Lionardo's   work,  is   again   very  inferior.     It   has   more 


E.  Hautecoeur,  Phot.  Salle  VI. 

1169.     The  Virgin  of  the  Casio  Family.  —  BoUmffio. 

movement  and  is  more  elaborately  treated,  but  the  back- 
ground is  colder,  the  drawing  and  colouring  are  harder, 
and  the  execution  is  imperfect. 

A  second  pupil  of  Lionardo  was  Gianantonio  (Gio- 
vanni Antonio)  Boltraffio  (1467-1516)  who  attained  a 
grand  simplicity  in  "The  Virgin  of  the  Casio  Family" 
(No.  1169).  The  composition  consists  of  a  simple  juxta- 
position of  the  Virgin  with  the  two  donors  who  are  bound 


ll'i  PAINTINGS   OF  TIIK   LOUVRE 

toi^a-thor  l>y  tlio  (•(tlouriu'i;  oi'  llio  throe  diircreut  reds  in 
tlic  garments.  Tlie  heads  are  remarkably  natural  and 
broadly  executed.  The  type  and  attitude  of  the  Virgin 
are  almost  those  of  a  woman  of  the  ])eoj)le,  and  the  land- 
scape is  treated  with  the  same  splendid  simplicity.  Al- 
thouirh  the  drawing;  of  the  hands  of  the  Child  and  of  the 
person  on  the  left  is  bad,  this  work  contrasts  favourably 
with  the  then  prevailing  mania  for  prettiness  only. 

Thus,  it  was  to  Lionardo  that  all  his  successors  turned 
as  a  source  of  inspiration.  From  him  Marco  da  Oggiono 
learned  pure  form;  Boltraffio,  grandeur;  and  Andrea 
Solario  (14G0  .^-1530  ?),  colour  and  a  velvety  treatment  of 
the  skin.  The  art  of  this  last  is  one  of  the  best  examples 
of  the  evolution  in  manner  which  can  take  place  during 
the  lifetime  of  an  artist.  At  first,  Solario  was  a  follower  of 
the  old  Lombard  school  of  the  fifteenth  century  and  con- 
tinued so  up  to  the  time  of  his  painting  "The  Crucifix- 
ion" (No.  1532),  dated  1503.  Here  his  colours  are  cold 
and  have  the  hardness  of  enamel;  the  predominating  loud 
red  and  blue  on  the  sides  do  not  harmonise  well,  and 
they  are  made  still  more  discordant  by  the  intense  white 
of  the  cross.  The  faces  and  bodies  are  after  the  realistic 
school  of  IMantegna,  but  they  indicate  no  attempt  at 
beauty.  With  this  compare  "The  Virgin  of  the  Green 
Cushion"  (No.  1530),  a  specimen  of  Solario's  later  man- 
ner, in  Avhich  ^ve  see  the  ideal  type  of  face  created  by 
Lionardo,  with  the  look  of  intense  maternal  devotion. 
Here,  also,  is  Lionardo's  red-brown  hair,  expressive  atti- 
tude and  soft  and  living  flesh.  The  Child  lies  in  a  na- 
tural position,  the  colours  are  warm,  and  the  play  of 
the  lights  and  shadows  is  remarkable. 


LIONARDO   TO   RAPHAEL 


113 


The  "Head  of  St.   John  the  Baptist  on  a  Charger" 
(No.   1533),  by  the  same  artist,  is  beautiful,  in  spite  of 


E.  HautectEur,  Phot. 

1532.     The  Cimcifixion.  —  Solario. 


Salic  \'I 


its  deathhke  whiteness.  The  red  beard  is  carefully  exe- 
cuted, the  blood  on  the  neck  is  \4sible,  notwithstanding 
the  deep  shadow  which  covers  it,  and  the  whole  work  is 


Ill 


PAINTINGS   OF  THE   LOUVRE 


E.  Hautecitur,  Pli.  t 


Salle  VI 


1530.     The  Virgin  of  the  green  cushion. — Solario. 


remarkably  treated.  The  "  Portrait  of  Charles  of  Am- 
boise"  (No.  1531),  on  the  other  hand,  with  its  min- 
ute execution,  is  hard  and  lifeless. 

A  keen  sense  of  beauty  and  of  something  deep  and 
mysterious  principally  distinguishes  Bernardino  Luini 
(1475  P-1533  ?).     Only  a  few  of  these  characteristics  are 


LIONARDO  TO   RAPHAEL  115 

to  be  found  in  one  of  his  first  works,  a  fresco  represent- 
ing the  "  Forge  of  Vulcan "  (No.  1356)  painted  for  the 
Villa  Felucca.  The  god,  who  is  forging  a  wing  for  Eros, 
is  seated,  and  is  lacking  in  character,     Venus  is  full  of 


E.  HautectEur,  Phot.  Salle  \'l 

1533.     The  head  of  John  the  Baptist  on  a  charger.  — Solaria. 

mannerism  in  pose  and  expression,  and  the  colours  are 
hard  and  indistinct.  The  two  frescoes  (Nos.  1357  and 
1358)  are  also  from  the  Villa  Felucca.  The  true  Luini, 
with  qualities  reflected  from  Lionardo,  first  asserts  himself 
in  the  frescoes  of  the  Villa  Litta.  But  Luini  never  had 
vigour  in  composition.  The  "Adoration  of  the  Magi" 
(No.  1360),  in  Salle  V,  is  di^^ded  into  two  groups  by 
means  of  a  large  wall,  and  the  figures  thus  seem  too 
cramped  in  the  small  space.     This  also  is  to  be  seen  in  the 


11»^>  PAINTINGS   OK  THE   LOUVRE 

treatment  of  the  hackjrround  wliitli  is  shallow  and  only 
allows  a  fflinipse  into  the  distance.  Neither  was  I.uini  a 
great  innovator,  for  the  attitudes  of  his  fi<rures  arc  apt 
to  be  conventional.  ]Uit  he  learned  nuich  from  Lionardo, 
and,  thouf^h  lacking  his  depth,  he  had  his  own  {)eculiar 
charm  of  softness  and  refinement.  'I'his  may  be  seen  in 
the  Virgin's  face  which  quite  conforms  in  this  picture  to 
the  type  created  by  Lionardo  with  its  long,  delicate,  oval 
form,  fine  nose,  and  small  mouth.  The  features  of  the 
aged  king  belong  to  the  old  traditions  of  the  school  of 
Milan,  and  his  attitude  and  expression  are  those  of  pro- 
found adoration.  The  colouring  is  agreeable.  The  land- 
scape, far  from  having  the  majesty  of  Lionardo,  is  an 
almost  idyllic  scene  enhanced  by  the  descending  caravan. 
The  same  peaceful  and  agreeable  characteristics  are  to 
be  found  in  "The  Nativity"  (No.  1359),  with  its  carefully 
treated  details ;  but  "  Christ  in  the  Act  of  Giving  His 
Blessing"  (No.  13G1)  is  too  crude  in  its  tones,  and  the 
expression  is  insipid  and  commonplace.  lAiini's  pupils 
doubtless  assisted  in  this  work  as  well  as  in  the  frescoes 
of  "The  Annunciation"  (No.  13G3).  "A  Dead  Christ" 
(No.  1364)  and  the  "  Curius  Dentatus  Refusing  the  Gifts 
of  the  Samnites"  (No.  1365)  form  part  of  the  same  series 
and  have  much  less  value.  The  little  fresco  "  The  €Iead 
of  a  Young  Girl  Personifying  Silence "  (No.  1362)  leaves 
a  disagreeable  impression  owing  to  the  bad  drawing 
of  the  finger.  The  expression  of  the  face  is,  however, 
pleasing. 

If  we  compare  Luini's  treatment  of  "Salome  Receiv- 
ing the  Head  of  St.  John  the  Baptist"  (No.  1355)  with 
Solario's  treatment   of  a  similar   subject,  we   easily   no- 


LIONARDO  TO   RAPHAEL 


117 


E.  Hautecceur,  Phot.  Salle  \"I 

1355.     Salome  receiving  the  head  of  John  the  Baptist.  —  Luini. 


tice  their  distinctive  characteristics.  In  Luini's  picture, 
Salome  holds  the  charger  on  which  a  hand  is  placing 
the  bleeding  head,  and  she  is  here  of  an  original  t\"pe. 
The  fine,  elongated  oval  of  the  face  and  the  delicate 
features  resemble  the  creations  of  Lionardo.  The  deep 
shadows  under  the  eyes  make  them  look  large  and  give 


118 


PAINTINGS  OF  THE  LOUVRE 


li.  Hautem-ur,  I'lii.l. 


Salk-  VI 


1353.     The  Holy  Family.  —  Luini. 


them  a  mysterious  expression.  The  head  of  St.  John 
best  shows  the  difference  between  these  two  artists. 
With  Solario  we  find  reahsm  expressed  by  a  pale, 
deathhke   colour  and   disordered    hair,    and  there  is  an 


LIONARDO   TO   RAPHAEL 


119 


expression  of  suffering  and  resignation  on  the  features. 
With  Luini  all  this  is  softened.  The  colour  is  pale  but 
not  deathlike,  the  hair  is  not  in  disorder,  the  expression 


E.  Hautecoeur,  Phot.  Salon  Carre 

1354.     The  sleeping  Infant  Jesus.  —  Luini. 


is  peaceful,  and  the  features  express  scarcely  any  physical 
pain. 

In  contrast  to  our  modern  search  for  originality,  the 
artists  of  the  sixteenth  century  reproduced  again  and 
again,  without  change,  types  which  they  had  once  adopted. 
Thus  it  was  with  Luini  in  his  "  Holy  Family  "  (No.  1353). 


120  PAINTINGS   OF  THE  LOUVRE 

The  Virf;fin  resembles  Salome,  and  in  St.  Joseph  the  type 
of  St.  John  the  liaptist  repeats  itself. 

For  some  ten  years  Luini  followed  in  the  footsteps  of 
Lionardo,  and  it  was  not  until  somewhat  late  in  life  that 


1:.  ii,.,,u  .L,.r.  r:,..t.  .s,.lk  \'I 

12S5.     Saint  Paul.  —  Ferrari. 

he  attempted  to  work  on  his  own  lines.  "The  Sleep- 
ing Infant  Jesus"  (No.  1354:)  is  original  both  in  con- 
ception and  treatment.  The  Virgin  is  about  to  envelop 
the  Child,  who  is  asleep  on  her  arm,  in  a  covering  which 
an  angel  spreads  out  before  her.     In  this  sleeping  Child, 


LIONARDO   TO   RAPHAEL  121 

with  his  head  falling  forward  and  relaxed  limbs,  we  see 
natural  and  unaffected  art.  The  Virgin  has  become  more 
womanly  and  no  longer  has  the  ideal  features  of  the 
past,  for  the  face  is  broader  and  less  delicate,  and  she  is 
entirely  devoted  to  her  maternal  cares.  This  scene  is 
so  true  and  real  that  a  woman  might  have  been  the  author 
of  it. 

Thus,  greater  delicacy  of  feeling  was  introduced  among 
the  followers  of  Lionardo,  and  the  vigorous  element  was 
modified  into  a  sweet  dreaminess.  This  we  see  in  the 
"  St.  Paul "  (Xo.  1285)  by  Gaudenzio  Ferrari  (1471  .=^-1546). 
The  Apostle  is  languorous,  not  only  in  expression  but  in 
attitude.  The  characteristics  of  Lionardo  have  almost 
completely  disappeared,  and  it  is  only  in  the  excellence 
of  the  drawing  that  we  still  find  them.  There  is  still  a 
certain  hardness  of  colouring,  but  another  influence  is  at 
work  —  an  influence  that  almost  exclusively  prevailed 
dm-ing  the  following  centuries.  This  new  inspiration 
came  from  Raphael,  who  inspired  the  art  of  the  sixteenth 
century,  and  whose  name  has  become  the  symbol  of  art 
in  general. 


RAPHAEL  TO  THE  VENETIAN  SCHOOL 

WITH  the  great  trio,  Lionardo,  Michael  Aii«i;el(),  and 
Kaphael,  art  attained  the  highest  point  yet  reaehed 
in  Italy.  Of  these,  Raphael  (U83-lo!20)  is  the  most 
harmonious,  With  hini  there  Avas  no  waste  of  strength 
in  excessive  universality  as  with  Lionardo,  no  diversity 
of  gifts  as  with  the  sculptor-painter-poet,  Michael  Angelo. 
Raphael  was  a  painter  only  and  was  the  most  human 
of  the  three. 

Lionardo  was  the  man  of  feeling  who  surprised  the 
most  intimate  mysteries  of  the  soul,  and  knew  how  to 
interpret  them;  Michael  Angelo  was  a  Titan  from  an- 
other world  who  created  a  world  of  Titans  like  himself; 
but  Raphael  reveals  all  the  incomparable  beauties  of  this 
earth.  He  seems  to  have  seen  all  things  and  their  attri- 
butes in  their  perfection,  and  this  perfection  was  obvi- 
ously natural  to  him.  His  receptive  nature  assimilated 
everj-thing  that  had  gone  before  him,  and,  though  he 
remained  an  Umbrian  all  his  life,  he  added  the  charac- 
teristics of  his  own  individuality  and  raised  art  to  a  per- 
fection before  undreamed  of.  He  was  brought  up  at  the 
court  of  Guidobaldo  of  Urbino  by  his  father,  who  was 
a  poet  and  painter  in  this  great  period  of  development  of 
classical  learning.  It  is  thought  by  some  that  he  studied 
under  Timoteo  Viti,  but  it  is  known  that  he  was  finally  a 
pupil  of  Pietro  Perugino.     That  which  Perugino  created, 


RAPHAEL  TO  THE  VENETIAN  SCHOOL      123 


E.  Hautecceur,  Phot. 


Salle  VI 


1502.     St.  Michael  and  the  dragon. — Raphael. 

Raphael  made  perfect,  and  he  surpassed  his  raaster  from 
the  very  commencement. 

Even  in  his  early  works,  his  genius  solved  complicated 
problems.     This  is  apparent  in  the  small  picture  of  "St. 


124  PAINTINGwS  OF  THE  LOUVRE 

Michael  and  the  Dragon"  (Xo.  1502),  in  the  Long  Gal- 
lery. The  archangel,  who  has  descended  from  heaven  and 
is  crushing  the  writhing  dragon  under  his  foot,  brandishes 
his  sword  with  the  right  liaiid.  In  the  background  we 
see  a  landscape  with  a  burning  town,  (luitc  alter  the 
Uml)rian  manner.  The  difficulties  in  the  composition  are 
solved  in  such  a  manner  that  we  scarcely  suspect  them, 
for  it  was  necessary  to  give  material  lightness  to  the 
fighting  angel,  and  at  the  same  time  a  supernatural 
weight  to  the  body  Avhich  crushes  the  monster  —  ele- 
ments diametrically  o}>posed.  How  is  this  effected? 
The  archangel  has  been  flying  through  space,  and  his 
garments  still  flutter  in  the  wind.  His  wings  are  spread, 
the  body  is  l^ent  forward,  and  everything  indicates  a 
light  and  easy  flight.  In  contrast  to  this  lightness  the 
dragon  writhes  under  the  left  foot  of  St.  Michael.  By 
an  ingenious  artifice,  this  leg  is  covered  with  an  iron 
armour  which  in  itself  suggests  weight.  But  it  becomes 
a  striking  reality  when  we  see  the  flattening  of  the  body 
of  the  dragon.  To  give  us  a  sense  of  the  size  of  the 
dragon  another  similar  monster  crouches  and  approaches. 
While  the  leg  of  the  archangel  remains  immovable  in 
the  grasp  of  the  dragon's  tail,  the  upper  part  of  his 
body  is  full  of  movement,  and  it  is  this  contrast  which 
gives  the  composition  all  its  strength.  The  large  Avings 
and  the  white  shield  lend  amplitude  to  the  figure  of  the 
archangel  who  might  otherwise  appear  too  small.  Al- 
though the  composition  thus  shows  great  originality, 
the  face  still  suggests  the  manner  of  Perugino.  It  is  the 
type  of  Perugino's  INIadonnas,  though  here  inflamed  with 
a  holy  wrath. 


RAPHAEL   TO  THE  VENETIAN   SCHOOL     125 


E.  Hautecceur,  Phot. 


Salle  VI 


1503.     Saint  George.  — Raphael. 


The  pendant  of  the  "  St.  Michael"  is  the  picture  of  "St. 
George  and  the  Dragon"  (No.  1503).  Mounted  on  a 
thick-set  charger  which  then  represented  the  ideal  of  a 
horse,  St.  George,  in  bronze  armour,  is  in  mortal  combat. 
The  attitude  is  full  of  movement  and  animation,  but  the 
horse  seems  a  Httle  unnatural  owing  to  its  hea%y  form. 
The  landscape  is  simple,  yet  pleasing. 


12G  PAINTIXOS   OF  THE   LOT'VRE 

AVe  notice  the  Uniljrian  influences  on  these  works  of 
Rapliael's  youtli  if  we  compare  them  witli  his  "St.  Sebas- 
tian "  (No.  1008  a),  said  on  the  frame  to  be  of  the  Umbrian 
school.  The  landscape,  with  l)rown  and  li<fht  grey  tones 
in  tlie  foreground  and  the  long  range  of  ))lue  mountains 
in  the  background,  is  quite  conventional.  'J'he  attitude  of 
the  young  St.  Sebastian  is  undignified  and  almost  suggests 
the  movements  of  a  dancer.  The  moment  the  Umbrian 
artists  abandoned  religious  sul)jects  and  endeavoured  to 
represent  passion  they  lost  all  their  strength.  It  was  from 
his  contact  with  Florence  that  Raphael  accjuired  his  power 
of  realism. 

Lionardo  and  Michael  Angelo  had  inaugurated  a  new 
era.  Lionardo  taught  how  to  give  like  values  to  figures 
and  the  spaces  in  which  they  were  set.  Michael  Angelo, 
as  sculptor  and  painter,  showed  the  importance  of  outline 
and  nmscular  development,  which  was  a  newly  discovered 
phenomenon.  Raphael,  thanks  to  his  incomparable  appre- 
ciation and  sense  of  the  beautiful,  impressed  a  character  all 
his  own  on  these  elements  of  realism  and  blended  them 
with  the  Umbrian  sweetness.  R  is  only  the  Raphael  of  the 
Florentine  period  (1504-1508-9)  who  can  have  been  the 
author  of  "Apollo  and  Marsyas"  (No.  1509).  The  god, 
lightly  leaning  on  his  staff,  is  listening  to  the  sounds  which 
Marsyas,  seated  on  a  grassy  mound,  is  drawing  from  his 
pipe.  His  lyre  stands  near  him  on  the  ground,  and  a  wide 
landscape  of  blue  mountains  opens  out  in  the  back- 
ground. There  are  few  works  as  light  and  graceful  as 
this  one.  This  is  not  due  to  the  composition  alone. 
The  figures  only  occupy  the  sides  of  the  picture,  but  they 
are  brought  out  in  relief  by  their  colouring.     The  central 


RAPHAEL   TO  THE  VENETIAN   SCHOOL      127 

part  is  open   and   this   gives   a   Florentine   character  to 
the  landscape  without  any  mixture  of  Umbrian  elements. 


E.  HautcLiLur,  rhut. 


Salle  VI 


1509,     jipollo  and  Marsyas.  —  Attributed  to  Raphael. 


There  are  points  of  attraction  in  the  landscape,  such  as 
the  little  white  flowers  in  the  foreground,  the  bushes  and 
trees,  the  river  and  a  fortress.     The  landscape  is  con- 


128  PAINTINGS   OF  THE   LOUVRE 

tinued  in  tlic  far  distance  until  we  can  no  longer  dis- 
tinguish anytliing,  hut  we  suspect  otlier  vast  reaches  in 
the  mountains. 

These  are  some  of  the  features  of  the  delicate  treat- 
ment of  the  picture.  AVhat  is  still  more  remarkable  is 
that  all  the  muscles  of  the  two  figures  are  relaxed.  The 
feet  of  the  seated  Marsyas  seem  to  touch  the  ground 
lightly  and  the  strong  muscles  of  the  arms  contrast  with 
the  light  touch  of  the  fingers.  Apollo,  in  a  statuesque 
pose,  has  freed  his  left  leg  from  the  weight  of  his  body 
and  transferred  it  to  the  staff  upon  which  he  leans,  thus 
preserving  a  sense  of  the  laws  of  gravitation.  The  ex- 
pression on  Apollo's  face  is  one  of  attentive  judgment, 
while  Marsyas  is  deeply  engaged  in  his  occupation.  He 
is  not  represented  as  an  ungainly  Satyr,  but  as  a  young 
and  vigorous  peasant.  Raphael  treated  mythological  sub- 
jects as  belonging  to  our  world,  —  a  world,  in  his  mind, 
surpassing  all  others  in  beauty. 

It  is  in  this  beautiful  world  that  he  represented  the 
happiness  of  maternity  as  the  most  charming  of  all  sen- 
timents. AVe  have  seen  the  representation  of  the  Virgin 
change  gradually  (perhaps  a  result  of  the  spirit  of  the 
times)  from  a  divine  to  a  more  human  type.  Raphael 
made  this  modification  perfect. 

In  "La  Belle  Jardiniere"  (No.  I-IOG)  we  again  see  a 
landscape  full  of  variety  and  detail.  The  Virgin  bends 
toward  the  Infant  Jesus  who  stands  at  her  feet  and  leans 
against  her  knee,  whilst  St.  John  the  Baptist,  half  kneel- 
ing, raises  his  eyes  to  the  future  Sa^aour  in  an  attitude 
of  veneration.  The  grouping  is  strictly  correct  and 
is  after  the  manner  of  the  Florentine  school.     The  per- 


li.  Hautecceur,  Phot 


1496.     La  belle  Jardiniere,  — Raphael 


l.sn  PAINTINGS   OF   THE   LOUVRE 

sons  arc  close  to  each  otlicr  at  the  expense  of  the  fore- 
sliortening  of  tlie  Chikl's  liand.  But  tliat  which  frives 
charm  to  this  work  is  not  so  much  the  skill  displayed  in 
the  composition,  for  the  outline  is  comparatively  simple, 
as  the  beauty  of  the  figures.  This  A'irgin,  with  her  fair 
hair,  is  a  delicate  and  tender  mother.  The  Christ  is 
beautiful  and  intelligent  but  childish  withal.  The  ex- 
pression and  attitude  of  St.  John  are  full  of  awe,  as  might 
be  those  of  an  ordinary  child  in  the  presence  of  a  prince. 
"Wliat  Raphael  represents  here  is  of  this  world,  but  with- 
out any  ungainly  element,  and  it  is  because  of  this  at- 
tribute in  all  his  work  that  he  is  universally  understood. 
Before  this  picture  we  lose  sight  of  model,  subject  and 
composition  only  to  yield  to  the  charm  of  the  ensemble. 
If  there  is  any  peculiar  characteristic  in  his  style,  it  is  the 
complete  harmony  which  this  work  exemplifies. 

He  was  the  most  human  of  all  painters,  and  this 
quality  did  not  suffer  when  he  went  to  Rome  and  found 
himself  in  the  presence  of  ^Michael  Angelo. 

Here  he  came  in  contact  with  all  the  noble  remains  of 
antifjuity,  and  we  find  the  echo  of  the  impression  which 
these  things  made  upon  him  in  "The  Virgin  of  the  Blue 
Diadem"  (No.  1497).  This  is  a  purely  human  scene. 
The  Virgin  bends  cautiously  toward  the  Child  asleep 
on  a  blue  cushion  and  raises  the  transparent  veil  which 
covers  Him,  wliile  St.  John  the  Baptist  joins  his  hands 
in  adoration.  We  might  also  call  this  picture  the  Holy 
Silence,  for  everything  in  it  contributes  to  give  an  im- 
pression of  peace.  The  graceful  motion  with  which  the 
Virgin  raises  the  veil,  the  sleeping  Child  with  his  Httle 
arms  extended,  the  half  open  mouth  of  St.   John  who 


RAPHAEL  TO  THE  VENETIAN   SCHOOL     131 

seems  to  restrain  a  cry  of  admiration  just  as  it  is  about 
to  pass  his  lips,  the  ruins  and  the  landscape  in  the  back- 


E.  Hautecceur,  Phot. 


Salle  VI 


1^91.     The  Virgin  of  the  blue  diadem,  —  Raphael. 


ground  bathed  in  mist;  all  this  seems  to  say:  "The  fret- 
ful world  is  far  away;  this  is  the  realm  of  silence  and 
peace."     But  we  feel  the  presence  of  a  foreign  element. 


ir^Q  PAINTINGS   OF  TIIK   LOUVRE 

The  composition  is  admirably  balanced,  the  outline  is 
firm,  bui  tlio  A'ir^in's  f;icc  is  strikin<;ly  insi])i(l.  TJie 
colourino-,  also,  in  places,  lacks  stren<>tli,  as  in  the  <:,ar- 
ments  of  the  Vir<;in,  and  is  sometimes  <)larino;,  as  in  the 
blue  of  the  cushion;  the  body  of  St.  John,  far  from  beini; 
that  of  a  child,  has  all  the  vi<i;our  and  development  of  an 
adult.  This  cannot  be  due  to  Raphaers  decliniuf^  powers, 
for  he  died  in  the  full  maturity  of  his  genius,  and  we  can 
only  infer  that  a  pupil  of  great  talent  finished  one  of  his 
sketches.  "^I'lie  Pope  and  the  aristocracy  of  Uome  taxed 
Raj)haers  energies  to  their  utmost  limit,  and,  unable  to 
refuse  any  pressing  demand,  he  often,  at  that  time,  made 
sketches  wliich  others  finished.  Another  of  these  is  his 
sketch  of  "The  Little  Holy  Family"  (No.  14!)<)).  On 
one  side  we  see  Jesus  kneeling  in  his  cradle  and  leaning 
against  the  Virgin's  knee  and,  on  the  other  side,  is  St. 
Elizabeth  supporting  St.  John.  This  is  the  work  of  an 
artist  who  is  a  perfect  master  of  composition.  The  de- 
ference of  level  between  the  Child  and  the  Mother  is 
treated  with  remarkable  ease,  and  the  inclined  attitude 
of  the  Virgin,  wliich  causes  the  balance  to  he  on  the 
right,  is  counteracted  by  the  marked  inclination  of  her 
head,  so  well  treated  here.  There  is  only  one  empty 
space  in  the  composition,  namely,  that  between  the  heads 
of  the  Virgin  and  St.  Elizabeth. 

Raphael  lays  himself  open  to  criticism  in  his  treatment 
of  "The  Holy  Family  of  Francis  I"  (No.  1498).  This 
is  a  variation  of  "The  Little  Holy  Family,"  for  it  contains 
the  head  of  an  angel  between  the  Virgin  and  St.  Elizabeth, 
and  the  composition  is  richer  and  more  decorative.  The 
vertical  is  well  marked  by  the  person  of  St.  Joseph  seated 


RAPHAEL  TO   THE  VENETIAN   SCHOOL     133 

in  the  background,  made  necessary  by  the  number  and 
variety  of  heads  and  attitudes.     The  weight  of  the  com- 

^  CD 


E.  Hautecceur,  Phot. 


Sal'rn  Carrti 


149s.     The  Holy  Family  of  Francis  I.  —  Raphael. 


position  is  in  the  lower  part  of  the  picture,  and  the  angel 
sprinkling  flowers  is  intended  to  draw  our  attention  from 
this.     But  the  pleasure  which  we  derive  from  this  picture 


134 


PAINTINGS  OF  THE   LOUVRE 


is  no  longer  tliat  which  the  pure  beauty  of  Raphael's  art 
usually  p^ives;  the  fijroupin<i^  is  too  cramped,  and  the  reason 
for  the  j)resence  of  the  angel  scattering  flowers  is  too 
obvious.  The  yellow  garments,  the  reddish-brown  faces 
and  the  muscles  of  the  children  clearly  show  that,  even  if 
the  drawing  is  by  Raphael,  the  execution  was  left  to  other 
hands. 


E.  Hau.ecceur,  Ph(jt. 


Salle  VI 


1500.     St.  John  the  Baptist  in  the  desert.  —  Raphael. 


The  same  observations  apply  to  "St.  Michael  Over- 
throwing Satan"  (No.  1504).  There  is  a  whole  world 
of  evolution  between  the  treatment  of  the  subjects  "St. 
Michael  and  the  Dragon"  (No.  1502),  in  the  Long  Gal- 
lery and  "Saint  Michael  Overthrowing  Satan"  (No. 
1504),  in  the  Salon  Carre.  The  two  different  treatments 
are  very  instructive.     In  the  second,  it  is  the  violence 


RAPHAEL   TO   THE   VENETIAN   SCHOOL     135 

of  the  fall  which  naturally  follows  the  rapid  flight  and 
hurls  the  dragon  to  the  ground,  whereas,  in  the  "St. 
Michael  and  the  Dragon,"  it   is  more   the  weight   of  a 


E.  Hautecceur,  Phot.  saiic  \"I 

1513  A,     The  Vision  of  Ezekiel. — Raphael. 


heavenly  power  that  we  feel.  Moreover,  the  demon  in 
the  second  picture  is  thrown  down  on  an  incline  and 
struggles  with  his  claws  to  prevent  himself  from  further 
sliding,  and  this  natural  movement  also  prevents  him  from 


136  PAINTINGS  OF   THE   LOUVRE 

rising.  But  here,  even  more  than  in  "  The  Holy  Family," 
we  notice  traces  of  the  hand  of  a  pupil  in  the  expressionless 
face  of  the  archangel  and  in  the  reddish-brown  colour  of 
the  skin.     The  folds  of  the  "-arment  have  been  restored. 


E.  Hautecoeur,  Phot.  Salle  VI 

1506.     Portrait  of  a  young  man.  —  Raphael. 

The  "St.  Margaret"  (No.  1501)  is  quite  a  wreck,  and 
we  see  the  hand  of  Raphael  only  in  the  harmony  of  the 
drawing.  It  is  more  than  doubtful  if  we  can  attribute 
the  "St.  John  the  Baptist  in  the  Desert"  (No.  1500)  to 
Raphael.  "The  Vision  of  Ezekiel"  (No.  1513  a)  is  a 
copy  of  a  picture  in  the  Uflfizi  Gallery.     The  "Portrait 


RAPHAEL  TO   THE  VENETIAN   SCHOOL      137 

of  a  Young  Man"  (No.  1506),  representing  a  young 
man  leaning  his  face  on  his  hand  and  supposed  to  be 
Raphael  himself,  does  not  deserve  to  be  popular,  nor  can 
it   be   attributed   to    Raphael.     The   left   eye    is  out    of 


E.  Hautecii-ur.  Phut.  Salle  VI 

1508.     Portrait  of  two  men.  —  Raphael. 


drawing,  and  the  expression  is  insipid  and   wanting  in 
energy. 

The  "Portrait  of  Two  Men"  (No.  1508)  has  been 
wrongly  attributed  to  Raphael.  It  is  certainly  an  excel- 
lent work  full  of  strength,  colour  and  expression,  and  shows 
an  admirable  knowledge  of  movement,  but  it  is  marred 


1S8 


PAIXTIXGS  OF  THE  LOUVRE 


E.  HautcLLLUr,  Phot. 


Sal  .n  Carr6 


1505,     Portrait  of  Balthazar  Castiglione.  —  Raphael. 

by  a  hardness  in  the  figures  absolutely  foreign  to  Raphael. 
The  creative  power  of  Raphael  is  again  seen  in  the 
"Portrait  of  Balthasar  Castiglione"  (No.  1505),  also  in 
the  Salon  Carre.  Here  is  a  witty  and  distinguished 
courtier,  an  intelligent  diplomat  and  aristocrat.  This 
work  suggests  rather  than  represents  character  and  in- 


RAPHAEL  TO   THE  VENETIAN   SCHOOL      139 


E.  Hautecceur,  Phot. 


Salle  VI 


1507.     Portrait  of  Jeanne  of  Aragon.  — Raphael. 

tellect.  The  treatment  is  excellent,  and  the  joined  hands 
indicate  a  man  conscious  of  his  worth  and  of  what  is  due 
to  him.  Bright  colours  are  avoided,  for  they  would  only 
have  troubled  the  calm  of  this  harmony. 

On  the  other  hand,  "  The  Portrait  of  Jeanne  of  Aragon  " 
(No.  1507)  is  a  work  representing  grandeur  and  display. 


140  PAINTINGS   OF  THE   LOUVRE 

Accordinfij  to  Vasari,  the  skctcli  of  this  was  made  by 
another  artist,  and  Raphael  painted  only  the  head,  leav- 
ing it  to  be  finished  by  Giulio  Romano.  Douljtless 
this  work  owes  its  reputation  to  the  beauty  of  the  model, 
for  this  beauty  makes  us  overlook  the  lack  of  expression 
and  the  dryness  and  hardness  of  the  colouring  even  in 
the  face.  Criticism  has  also  overestimated  the  fresco 
called  "The  Magliana"  (No.  1512),  over  the  door  in  the 
Salle  des  Primitifs,  representing  the  Eternal  Father  sur- 
rounded by  seven  heads  of  cherubs.  The  composition 
is  crowded  into  too  small  a  frame,  and  the  retouching 
is  too  frequent,  though  the  faces  are  not  wanting  in 
charm. 

Raphael  died  of  a  malignant  fever  in  1520,  at  the  early 
age  of  thirty-seven.  None  of  his  assistants  or  pupils  were 
able  to  successfully  continue  his  work.  Giulio  Romano 
(1492-154'G),  the  most  illustrious  among  them,  was  of  a 
temperament  diametrically  opposed  to  that  of  Raphael, 
but  he  had  great  richness  of  imagination  and  brilliant 
talent  for  composition.  These  gifts  he  applied  to  the 
purely  decorative  element  and,  working  in  an  almost 
mechanical  manner,  found  no  opportunity  for  perfect- 
ing himself.  He  was  not  insensible  to  the  influence  of 
Michael  Angelo,  and,  as  a  native  of  Rome,  he  could 
but  love  the  antique.  All  these  different  characteristics 
are  united  in  his  works.  His  large  "Nativity"  (No.  1418) 
is  exquisite  in  composition,  owing  to  the  manner  in  which 
the  master  represents  the  principal  scene  between  St.  John 
and  St.  Longinus,  and  in  which  the  Virgin  and  St.  Joseph 
kneel  near  the  new-born  Child,  with  the  shepherds  in 
the  background.     But,  owing  to  the  influence  of  Michael 


RAPHAEL  TO  THE  VENETIAN  SCHOOL   141 


Braiin,  Cli-nient  &  Cie..  Pliot. 

U18.      The  Natirlty.  —  Rommw. 


Salic   \'I 


Angelo,  the  figures  seem  larger  than  hfe  in  the  setting 
in  which  they  are  placed.  The  colouring  is  harsh, 
with  yellow  shades  in  the  reds  and  smoky  grey  in  the 
whites,  and,  as  with  Michael  Angelo,  the  muscles  are 
strongly  marked. 


142 


PAINTINGS   OF   THE   LOUVRE 


We  again  find  all  the  qualities  of  Romano  in  the  "Por- 
trait of  a  Man"  (No.  1422),  that  is  to  say,  richness  of 
colouring  and  severity  of  expression  approacliing  almost 
to  harshness.  This  picture  is  clearly  by  Romano  and, 
for  a  long  time,  it  passed  for  a  portrait  of  the  master  by 
himself. 


Braun,  Clement  &  Cie.,  Phnt. 


Salle  VI 


1420.     The  Triumph  of  Titus  and  Vespasian.  —  Romano. 

The  "Venus  and  Vulcan"  (No.  1421),  in  Salle  IX,  is 
doubtless  only  a  copy  of  a  fresco  mentioned  by  Vasari. 

"The  Triumph  of  Titus  and  Vespasian"  (No.  1420) 
shows  us  how  much  Romano  was  beginning  to  be  in- 
fluenced by  the  antique.  Though  the  artist  strove  to 
keep  his  works  free  from  the  taint  of  any  other  influence 
than  that  of  Raphael,  he  did  not  succeed  in  doing  so  in 


RAPHAEL  TO   THE  VENETIAN   SCHOOL      143 

his  later  works,  for  the  influence  of  ^Michael  x\ngelo  was 
irresistible.^^ 

The  creative  genius  of  Michael  Angelo  was  too  in- 
dividual to  enable  him  to  found  a  school,  and  his  imita- 
tors, in  copying  his  manner,  degenerated  into  exaggera- 
tion.    Thus,   in  the   "David  and   Goliath"    (No.    1462) 


E.  HauteCLcur,  Phut.  S:ill.-  Vl 

1462,     David  and  Goliath.  —  Volterra. 


by  Daniele  da  Volterra  (1509-1566),  we  see  swollen 
muscles,  twisted  limbs,  and  a  complete  lack  of  propor- 
tion between  the  figures  and  the  size  of  the  picture. 
Furthermore,  with  total  lack  of  taste,  this  work  is  painted 
on  marble.  Again,  Muziano  (1530.^-1592),  in  his  picture 
of  "Christ  and  St.  Thomas"  (No.  1396),  endeavours  to 
obtain  a  maximum  of  effect.  But  the  manner  in  which 
the  unbelieving  Thomas  feels  the  wounds  of  Christ  is 
almost  brutal. 

Sebastiano   Luciano,    called    Sebastian©    del    Piombo 


ui. 


PAINTINGS   OF   THE   LOUVRE 


E.  HautecLtur.  I'iiut. 


S:ill  ■  \l 


1352.     The  Visitation.  —  Luciano. 


(1485-1547),  alone  of  the  disciples  of  jNIichael  Angelo,  is 
of  real  importance.  In  "  The  Visitation  "  (No.  1352)  the 
Virgin  and  St.  Elizabeth  salute  each  other  with  the 
distinction  of  queens,  and  their  attitudes  are  full  of 
dignity;  but  the  figures  are  too  large  for  the  surround- 
ings, and  their  features   are   almost  too   sharp   and  are 


RAPHAEL  TO   THE  VENETIAN   SCHOOL      145 

wanting  in  sweetness.  From  the  point  of  view  of  tech- 
nique, Sebastiano  del  Piombo  was  a  consummate  master, 
but  this  work  makes  no  deep  impression  upon  us.  Gran- 
deur was  a  quahty  unknown  to  him,  and  he  was  unable 
to  approach  the  dignity  of  ]\Iichael  Angelo. 

The  trio,  Lionardo,  Raphael,  and  ^Michael  Angelo, 
had  been  preceded  in  Florence  by  the  trio,  Botticelli, 
Ghirlandajo,  and  Fili])po  Lippi.  All  the  efforts  of  the 
son  of  Fra  Filippo  Lippi  left  no  satisfactory  results. 
He  was  "an  ardent  struggler,  but  lacked  knowledge 
and  complete  mastery  of  himself."  Again,  Lippi's 
pupil,  Raffaellino  del  Garbo  (14G6-1524),  remained  a 
fifteenth  century  master  to  the  end.  His  large  "  Coro- 
nation of  the  Virgin  "  (So.  1303)  is  full  of  charm  and  life, 
as  may  be  seen  in  the  heads  of  the  angels.  There  is  deep 
emotion  in  the  expression  of  the  Virgin,  and  dignity  in 
the  figures  of  the  saints,  but  the  composition  and  colour 
are  of  the  old  school. 

Piero  di  Lorenzo,  called  Piero  di  Cosimo  (146'2-lo'21 .'), 
a  dreamer  and  an  original,  was  unable  to  represent  the 
perfected  art  which  characterised  his  time.  It  is  still  the 
old  manner  of  grouping  and  the  traditional  draping  of 
the  garments  that  we  see  in  his  "  Coronation  of  the 
Virgin"  (No.  1416).  But  Cosimo  must  have  had  an 
individualitv  all  his  own.  Vasari  calls  him  a  master  of 
landscape,  and  this  quality  we  see  in  two  new  pictures 
attributed  to  him,  "The  Triumph  of  Venus"  and  "The 
Wedding  of  Thetis  and  Peleus  "  (Xos.  1416  a  and  1416  b). 
In  the  former,  in  the  midst  of  a  beautiful  landscape,  Venus, 
seated  in  a  chariot  of  shells  and  surrounded  by  a  numerous 
suite,  approaches  the  shore.     The  antique  here  lives  again. 


1  Kl 


PAINTINGS   OF   THE   LOUVRE 


—  not  the  antique  read  of  in  books,  but  that  which  the 
Renaissance    imagined.     In    the    other    picture    we    see 


E.  HautLCcL-ur,  Fhot.  Sail-  VI 

1303.     Coronation  of  the  Virgin.  —  Garbo. 

Thetis,  in  a  characteristic  landscape,  led  by  her  father, 
Nereus,  the  old  sailor.  Peleus,  her  lover,  dressed  in  the 
red  costume  of  a  knight,  approaches,  and  bows  before 


RAPHAEL  TO   THE  VENETIAN  SCHOOL      147 

her.  All  about  a  troop  of  gods,  satyrs,  and  centaurs 
gaily  frolic.  Hercules  is  seated  in  front  of  a  portico  of 
fantastic   rocks,  and   cupids  bearing  torches  accompany 


E.  HnutrCiLur,  Plmt,  Salle  VI 

I4I6.     The  Coronation  of  the  Virgin.  —  Lorenzo. 


the  bride.  These  two  pictures  have  been  attributed 
by  Mr.  Berenson  to  Alunno  di  Doraenico,  and  he  believes 
them  to  have  been  painted  about  1490. 

Fra  Bartolommeo,  called  Baccio  di  Porta  (1475-1517) 


14.8 


PAINTINGS  OF  THE  LOUVRE 


E.  Hautecrcur.  Phot.  Salle  VI 

1154.     The  mystic  marriage  of  St.  Catherine.  —  Fra  Bariolommeo. 

seemed  destined  to  develop  the  principles  of  architectural 
construction  in  Florence.  He  was  an  ardent  admirer  of 
Savonarola  and  had  the  sense  of  grandeur  and  of  pathos. 
The  detail  in  his  works  is  entirely  eclipsed  by  the  effect 
of  the  ensemble.  In  '*  The  Mystic  INIarriage  of  St.  Cathe- 
rine" (No.  1154),  we  are  particularly  impressed  by  the 
beauty  of  the  drawing  and  grouping.     The  dais  on  which 


RAPHAEL  TO   THE  VENETIAN  SCHOOL      14.9 

the  Virgin  is  seated  separates  her  from  the  figures  at  the 
sides,  and  the  back  of  the  throne  gives  her  importance. 
By  her  side  stands  the  Infant  Jesus  presenting  the  mystic 
marriage  ring  to  St.  Catherine,  whose  robe  is  white,  thus 
forming  a  contrast  with  the  predominating  dark  colours, 
and  falls  in  long,  simple  folds.  On  either  side  of  the  prin- 
cipal group  are  saints  in  different  attitudes,  and,  at  the 
back,  are  St.  Francis  and  St.  Dominic  embracing  each 
other.  There  is  in  this  picture  an  extreme  economy  of 
space,  for,  though  there  is  a  large  number  of  persons,  there 
is  no  impression  of  overcrowding,  perhaps  because  of  the 
light  tone  of  the  pillars  and  the  fine  perspective.  The  draw- 
ing is  also  harmonious,  as  may  be  seen  in  the  canopy  with 
its  ample  and  flowing  draperies  held  up  by  three  angels. 
The  eye,  after  dwelling  on  the  row  of  heads,  is  drawn  to 
the  Virgin  in  the  centre.  Then,  passing  to  the  Child,  it 
follows  His  extended  arm  till  it  drops  to  St.  Catherine 
to  rest  on  the  folds  of  her  robes.  In  the  presence  of  this 
original  composition,  we  overlook  the  fact  that  the  face 
of  the  Virgin  is  borrowed  from  Lionardo,  and  the  treat- 
ment of  the  garments  from  Raphael. 

"  The  Annunciation"  (No.  1153),  by  Fra  Bartolommeo, 
is  constructed  on  the  same  lines.  It  is  not  "  the  humble 
mother  of  the  Saviour,"  but  the  sublime  queen  of  heaven, 
that  the  angel  approaches.  The  position  of  the  Virgin  is 
similar  to  that  just  described,  and  here  the  saints  on  the 
sides  are  placed  on  a  different  level,  thus  giving  the  group 
the  form  of  a  pyramid.  The  foreground,  after  the  manner 
of  Raphael,  is  occupied  by  two  young  women  in  strik- 
ingly different  positions.  The  colouring  is  warm  and  the 
execution  delicate,  particularly  in  the  modelling  of  the 


l.^O  PAINTIN'GS   OF   THE   LOUVR?: 

articulations  wlicre  the  influence  of  Michael  Angelo  is 
visible.  The  same  excellence  is  seen  in  the  saint  holding 
a  sword  and  in  the  hands  of  the  Virgin  holding  a  book. 

Vasari  calls  Mariotto  Albertinelli  (1474-1515)  "another 
Fra  Bartoloninieo."  He  was  his  favourite  companion, 
and  certaiidy  aj)proached,  but  never  oqunlled,  the  master. 
In  his  "Christ  Appearing  to  Mary  Magdalene"  (No. 
1115),  MC  again  see  the  old  types.  The  action  is  exag- 
gerated and  uncertain,  and  the  colouring  is  too  light 
and  has  no  strength.  On  the  other  hand,  "The  Virgin 
and  Child  between  St.  Jerome  and  St.  Zenobius"  (So. 
1114)  is  a  real  work  of  art.  We  .see  here  the  first  attempt 
at  that  composition  which  Raphael  later  brought  to  per- 
fection in  his  "Sistine  ^ladonna"  in  Dresden.  The 
Virgin  stands  in  full  face,  raised  on  a  pedestal,  with  the 
Child  in  her  arms  in  the  act  of  giving  His  blessing.  In  con- 
trast to  the  "  Sistine  ]\Iadonna,"  the  position  which  Alberti- 
nelli gives  to  the  A'irgin  seems  sculptural,  and  this  feature 
he  accentuated  by  adding  the  superstructure  on  which 
the  Virgin  is  placed.  He  also  made  her  lower  her  eyes 
and  thus  prevented  her  from  seeming  to  issue  from  the 
picture  onto  the  spectator,  a  danger  common  to  this  kind 
of  composition.  Her  figure  stands  out  in  relief  against  the 
sky,  while  St.  Jerome  and  St.  Zenobius  are  less  distinct 
against  the  landscape  and  are  in  profile.  The  Virgin  thus 
becomes  the  principal  feature  of  the  composition. 

The  genius  of  Andrea  del  Sarto  (1486-1531)  has  quite 
another  character.  The  problem  of  construction  in  his 
portraits  of  saints  is  solved  by  means  of  light  and  colour- 
ing. In  order  to  place  a  great  number  of  persons  in  a 
small  space,  he  represents  them  kneeUng  and  inclined, 


RAPHAEL  TO  THE  VENETIAN  SCHOOL      151 


E,  HautecoL'ur,  Phot 


Salle  VI 


111 4-     The  Virgin  and  Child. — AlberiinelH. 


as  in  his  two  pictures  representing  "The  Holy  Family" 
(Nos.  1515-1516).  His  drawing  is  correct;  we  can  see 
the  articulations  in  the  hands,  and  the  bodies  have  move- 
ment. In  these  rich  compositions  the  happy  juxtaposi- 
tion of  lights  and  shades  causes  these  different  elements 
to  be  easily  distinguished.     We  must  not  look  for  much 


152 


PAINTINGS   OF   THE   LOUVRE 


E.  Hautecoeiir.  Phot. 


Salle  VI 


1515.     The  Holy  Family.  —  Aridrea  del  Sarto. 


character  in  this  artist,  for  with  him  sentiment  was 
never  deep,  but  the  hands  are  cleverly  painted  and  the 
flesh  is  lifelike.  When  he  attempted  grouping,  he 
failed,  as  in  the  "Charity"  (No.  1514),  in  which  the 
Madonna  holds  two  children  in  her  arms,  while  another 
is  asleep  at  her  feet.     This  regular  pyramid  is  monoto- 


RAPHAEL  TO   THE  VENETIAN   SCHOOL      153 

nous,  the  symmetrical  arrangement  of  the  children  is 
devoid  of  interest,  and  the  face  of  the  Virgin  does  not 
show  any  other  expression  than  the  desire  to  please. 
Nevertheless,  we  easily  overlook  these   shortcomings    in 


E.  Hautecoeur,  Phot.  Salle  VI 

151  j^.      Charity.  —  Andrea  del  Satto. 


view  of  the  beautiful  silvery  shade  of  the  colouring  and 
the  rich  landscape  so  well  treated.  "  The  Annunciation  " 
(No.  1517)  is  a  copy  of  the  original  in  the  Pitti  Gallery. 
Andrea  del  Sarto  had  the  characteristics  of  a  portrait 
painter,  though  "  The  Portrait  of  the  Advocate  Fausti "  (No. 


154  PAINTINGS   OK   TIIK    LOUVRE 

1651  a)  has  more  value  from  tlie  point  of  view  of  pose 
than  from  that  of  expression  of  cliaracter.*^  There  is 
somethin<;  of  the  pride  of  the  Mechcis  in  the  erect  posi- 
tion and  in  the  iiead  thrown  a  httle  back.  This  energetic 
man  looks  up,  almost  seeming  to  issue  from  the  frame,  and 
this  gives  an  appearance  of  intense  life  to  the  portrait. 
Tliere  is  life  also  in  the  warm  colouring  of  the  face  which 
is  enhanced  by  the  dark  garments. 

This  picture  expresses  self-confidence  and  resolution, 
and  forms  a  strong  contrast  to  the  very  beautiful  "Por- 
trait of  a  Young  Man"  (So.  1(544),  in  the  Salon  Carre, 
by  an  unknown  master,  but  which  critics  now  attribute 
to  Francia  Bigio  (148*2-1525),  a  companion  of  Andrea  del 
Sarto.  Pain  and  depression  are  here  depicted  in  the 
veiled  eye,  in  the  contracted  mouth,  in  the  leaning  body 
and  in  the  lassitude  of  the  head.  Francia's  life,  "with- 
out fortune's  favour,"  is  here  typified.  ^Slany  a  work 
of  this  master,  so  little  known  and  appreciated  during 
his  lifetime,  was,  after  his  death,  attributed  to  other 
artists,  and,  among  them  to  Raphael.  On  close  exami- 
nation it  will  be  seen  that  this  picture  has  been  enlarged, 
a  jjractice  much  in  vogue  in  the  time  of  Louis  XIV.  It 
has  been  to  the  disadvantage  of  this  picture,  for  it  makes 
the  figure  appear  too  small  for  its  setting. 

Jacopo  Carrucci  il  Pontormo  (1493-1557),  a  pupil  of 
Andrea  del  Sarto,  Avas  frequently  successful,  though  his 
"Holy  Family"  (Xo.  l'-240)  is  detestable  in  every  respect, 
being  hard  and  out  of  drawing.  On  the  other  hand,  he 
succeeded  in  "  The  Visitation,"  in  the  outer  portico  of  the 
Annunziata  at  Florence.  A  copy  (X'o.  l''24'-2)  of  this 
beautiful  fresco  is  in  the  Louvre  and  was  made  by  a  pupil 


RAPHAEL  TO   THE  VENETIAN   SCHOOL      155 


Braun,  Clement  &  Cie.,  I'hot.  Salle  VI 

1241.     An  engraver  of  precious  stones.  —  Carrucci. 

of  Pontormo.  The  grouping  and  construction  are  ab- 
solutely correct,  and  the  steps  serve  to  vary  the  level. 
The  principal  group,  representing  the  Virgin  and  St. 
Anne,  is  triangular.  The  space  is  filled  with  numerous  fig- 
ures which  remind  us  of  Fra  Bartolommeo  and  Raphael. 
But  it  is  a  harmonious  and  well  thought  out  work.     Pori- 


l.in  PAINTINGS    (IF   TIIF.   LOUVRE 

tornio  lacked  delicacy  of  execution,  as  we  see  in  his  "Por- 
trait of  an  Kii^fraver  of  Precious  Stones"  (Xo.  1241), 
which,  however,  is  a  work  of  some  value,  for  the  draw- 
in<5  is  firm,  the  colouring  ricli.  and  it  <fives  us  an  impres- 
sion of  movement  in  the  ]ica<l.  lUit  the  features  are 
exa<;<jerated  and  almost  brutal. 

Pontonno's  ])U|)il,  Bronzino,  called  Agnolo  di  Cosimo 
(1502-lo7>2),  has  treated  "The  Portrait  of  a  Sculptor" 
(Xo.  1184)  with  much  more  delicacy.  The  young  artist 
stands  holding  a  small  statue  of  Venus.  The  colouring 
is  transparent,  and  the  features  are  handsome  and  severe 
without  any  exaggeration.  The  work  shows  great  care, 
as  is  seen  in  the  beautiful  contrast  of  the  white  collar  with 
the  black  garments,  and  in  the  general  details  of  the  room. 
The  new  picture,  "The  Holy  Family"  (Xo.  1183a),  in 
the  lonir  irallcrv  on  the  left,  shows  that  Bronzino  could 
paint  religious  pictures  equally  well.  In  the  middle,  with 
exquisite  golden  hair  and  clothed  in  a  red  garment  and 
blue  cloak,  is  the  Mrgin  with  the  Infant  Jesus,  to  whom 
St.  John  offers  a  piece  of  fruit.  Behind  appears  St.  Joseph 
as  a  still  vigorous  old  man,  with  St.  Ivlizabeth  on  the  other 
side  to  give  balance  to  the  composition.  Although  the 
colouring  and  atmosphere  are  excellent,  the  drawing  and 
grouping  are  poor. 

"  The  Coronation  of  the  Virgin"  (Xo.  1324),  by  Ridolfo 
Ghirlandajo  (1483-1561),  is  a  work  of  his  youth,  painted 
in  1.503  and,  although  it  has  some  merit,  it  is  as  a  whole 
very  insignificant.  The  colouring  is  somewhat  cold  and 
streaky,  and  the  movements  are  angular  and  almost  con- 
vulsive. 

Florence  had  perfected  construction  and  grouping;  and 
Rome,  drawing,  outline  and  proportion.     It  was  left  to 


RAPHAEL  TO   THE  VENETIAN   SCHOOL       157 


E.  Hautecceur,  Pliot. 


Salle  VI 


1184'     Portrait  of  a  sculptor.  — Hmnzino. 


Venice  to  perfect  colouring.  The  dawn  of  this  element  we 
have  seen  in  the  first  two  great  Venetian  painters,  Giovanni 
(1428-1518)  and  Gentile  Belhni  (1426-1507).  It  may 
be  said  that  the  more  colour,  or  rather  the  love  of  colour, 
predominated  with  a  painter,  the  more  he  was  likely  to 
be  a  Venetian;  and  the  love  of  colour  is  always  the  love 
of  life. 


THE  VENETIAN  SCHOOL  AND  CORREGGIO 

A  T  tlic  very  l)c<i;innin^  of  tlic  great  Venetian  period 
-^  ^  we  find  Lorenzo  I>otto  (1480?- 1.55.5).  His  first  work, 
"St.  Jerome  in  the  Desert"  (No.  l.'}.)0),  ])ainte(l  in  1500, 
shows  liiiii  to  have  been  entirely  influenced  by  Giovanni 
Bellini  and  by  the  art  of  the  fifteenth  century.  He 
had  no  sense  of  proportion  as  between  fi<fures  and 
landscaj)e,  but  lie  had  feeling  for  colour  and  simplicity. 
His  wanderings  in  Italy  made  him  sensible  to  different 
influences.  In  a  measure,  his  talent  was  developed 
superficially  rather  than  deeply.  In  "  Christ  and  the 
AVoman  Taken  in  Adultery"  (No.  l.'Uf)),  Christ  is  a 
Venetian  type.  Lorenzo  Ivotto  here  tried  to  solve  the 
problem  of  the  luminous  qualities  of  flesh.  He  also 
attempted  other  problems,  such  as  the  filling  in  and 
economy  of  space,  whence  comes  this  multitude  of 
checkered  effects.  His  figures  are  full  of  movement,  but 
everything  is  absolutely  cold,  and  this  is  not  a  good 
picture,  for  the  crowding  of  the  figures  gives  a  stifling 
effect.  The  nobility  of  action  and  the  expression  in  the 
other  faces,  though  a  detail,  contrast  well  with  the  calm 
attitude  and  expression  of  Christ. 

Lotto  sometimes  attained  a  certain  grandeur.  "The 
Holy  Family"  (No.  1351)  is  equally  good  in  composition, 
light,  and  colouring.  By  the  side  of  the  Child  lying  on  a 
white  cushion,  are  seated  the  Virgin  and  St.  Elizabeth, 
not  in  an  attitude  of  adoration,  but  only  in  that  of  ad- 
158 


VENETIAN   SCHOOL  AND  CORREGGIO       159 

miration.  The  Child  stretches  out  its  arms  to  St.  John, 
and,  behind  the  latter,  bends  an  angel  under  whose  large 
wings  two  httle  heads  of  angels  appear.  St.  Joseph  and 
St.  Joachim,  bowing  reverently,  occupy  the  sides  of  the 
picture.     The    principal    group    is    perfectly    triangular; 


E.  Hautecctur.  Phot.  Salle  VI 

1349.     Christ  and  the  woman  taken  in  adultery.  —  lmo. 


the  garments  spread  out  on  the  ground  form  graceful 
lines,  and  the  figures  on  the  sides  soften  the  outline  of 
the  triangular  effect.  The  heads  of  the  angels  under  the 
great  wings  serve  to  fill  the  vacancy  above  the  women's 
heads  and  to  complete  the  composition.  The  luminous 
and  powerful  colouring  is  combined  with  a  distribution 
of  fight  unknown  up  to  the  time  of  Lotto  and  first  in- 


Irodurod  l»y  liiiii.  The  divine  Child  is  tlie  focus  from 
whicli  it  eiiiaiiales  and  it  is  i'roin  Ilim  that  a  radiance 
comes  to  J)hiy  upon  the  head  of  the  \'ir<,nn  and  upon  St. 
Jolm  and  the  an<^els,  at  the  same  time  creating  blue 
shadows  and  silvery  lights.  There  is  something  of  the 
magic  art  of  (\)rreggio  in  tliis  beautiful  work,  and  by 
such  composition  T/orcnzo  T>otto  raised  himself  well  above 
the  then  existing  Venetian  manner. 

Giovanni  Bellini  had  taught  the  Venetian  .school  how 
to  put  a  certain  charm  into  the  arrangement  of  figures 
on  the  same  plane,  and  a  l)eautiful  treatment  in  the 
movement  of  heads  is  found  everywhere  in  this  school. 
A  great  sen.se  of  joy  .seems  to  dwell  in  these  works,  such 
as,  for  instance,  tho.se  of  Palma  Vecchio  (1480-1528). 
In  his  "Annunciation  to  the  Shepherds"  (No.  1399),  the 
Virgin  holds  the  Child  to  her  side,  and  leans  toward  the 
shepherd  who  reverently  kneels  in  a  charming  attitude 
of  adoration,  while  St.  Joseph  looks  at  him  attentively. 
Behind  the  Mrgin,  l^efore  a  ruin,  kneels  the  donor  of  the 
picture.  The  arrangement  of  the  grouj)  is  simple,  but 
imposing.  The  eye  rests  first  on  the  praying  woman, 
travels  by  the  head  of  the  Virgin  to  St.  Joseph  and  falls 
to  the  shepherd  on  the  right.  The  faces  have  no  very 
profound  expression  of  life,  and  the  figures  are  half  ideal 
creations  of  a  genial  fancy.  The  attitudes  are  full  of  re- 
finement, as,  for  instance,  those  of  St.  Joseph  and  the 
beautiful  Venetian.  The  Virgin  herself  is  a  Avoman  of 
this  world  and  hardly  the  mother  of  God.  The  Avhole 
is  bathed  in  the  warm  and  golden  light  of  tlie  southern 
sun,  and  the  landscape  is  rich  and  varied. 

Giovanni    Bellini    had    three    great    pupils  —  Palma, 


VENETIAN  SCHOOL  AND   CORREGGIO       161 

Titian  and  Giorgione.  His  contemporaries  considered 
Giorgione  (1478-1510)  the  greatest.  They  surnamed 
him  the  great  Giorgio,  or  the  "divine  young  man." 
There  are  only  three  authentic  works  of  his  hand  in  exist- 
ence, but  these  allow  us  to  appreciate  fully  his  genius. 


1399.     The  Annunciation  to  the  shepherds.  — Palma  Vecchio. 


His  quiet  power  is  revealed  to  us  in  "  A  Pastoral  Con- 
cert" (No.  1136),  one  of  the  works  in  question  and  to  be 
found  in  the  Salon  Carre.  This  is  not  a  landscape  of 
dreamland  as  were  Lionardo's,  but  a  country  that  w^e  have 
all  seen  without  being  able  to  preserve  the  image  of  it  in 
our  memories.  A  warm  and  soft  atmosphere  hovers 
about  it.  Under  the  spreading  trees  in  the  distance  walks 
a  shepherd  with  his  flock,  the  horizon  fades  into  blue 
tones  and  golden  shades,  and  these  illumine  the  tops  of 
the  trees  and  the  uneven  ground.     In  the  midst  of  this 


162 


PATXTIN'GS   OF   THE   LOUVRE 


landscape  tliore  is  a  group  of  musicians  consisting  of 
two  men,  a  woman  holding  a  flute,  and,  to  the  left,  another 
woman  whose  position  is  full  of  movement.    We  are  afraid 


H||HHiiviHiHM| 

^^^^^_                \^^^^^K  ^k  ^ . !!l                                    '^KSm^^B*  *S^BI 

?^^^m 

9M  ^^^B^^^^                              ifl^BPV^^^^^^I^^                        "^  ^3^^B 

E.  Hautecceur,  Phot. 


Salrtn  Carr^ 


1136.     A  paMural  concert.  —  Giorgione. 


of  destroying  the  charm  of  this  creation  by  attempting 
to  analyse  the  richness  of  action  in  this  last  figure  with 
the  body  turned  directly  toward  us,  and  the  left  arm 
stretched  across  the  bosom,  while  the  face  is  in  full  profile. 
The  body  is  soft  and  lifelike,  and  the  skin  is  of  a  brilliant 


VENETIAN   SCHOOL  AND   CORREGGIO       163 

lustre.  The  treatment  of  the  colouring  is  masterly.  The 
landscape  is  painted  in  almost  neutral  tints  and  is  relieved 
by  the  delicate  red  of  the  flute  player's  cloak  and  by 
a  general  velvety  tone.  The  bodies  of  the  women,  suf- 
fused with  a  golden  lustre,  absorb  all  the  light  and  appear 
still  more  brilliant  owing  to  the  neighbouring  dark  tints. 


E.  Haute^o-ur.  I'li.jt.  Salle  VI 

1135.     The  Holy  Family.  —  By  n  pupil »/  Giorgione. 

The  mellow  light  fades  away  like  an  echo  upon  the  bright 
and  luminous  slopes  and  fields  in  the  background. 

"The  Holy  Family"  (Xo.  1135),  in  the  Long  Gallery, 
must  be  considered  the  work  of  a  pupil  or  talented 
imitator  who  made  use  of  Giorgione's  types,  as,  for  in- 
stance, in  the  head  of  the  Virgin.  He  must  have  been  a 
Venetian,  a  pupil  of  Giovanni  Bellini,  and  his  grouping 
shows  him  to  have  been  a  contemporary  of  Palma  Vecchio. 
He  also  knew  how  to  render  character,  as  is  shown  in  the 
countenance  of  the  donor,  but  he  lacks  the  joyousness  of 
Giorgione.  The  Virgin  is  almost  sullen,  and  St. Catherine, 
whose  gesture  is  conventional,  lacks  expression. 


1(51  TAINTINGS   OF  THK   LOUVRE 

Giorf^ionc  was  like  a  passinfi^  meteor.  Ills  contem- 
porary, Tiziano  Vecelli  (1 477-1570),  a  pupil  of  the 
Belliiiis,  was  destined  to  enjoy  a  continuous  life  of  fame 
for  nearly  a  century  and  to  exercise  a  ^reat  influence  upon 
followin*;  generations.  In  presence  of  the  works  of  Titian, 
we  lose  si<!;lit  of  drawin<i:,  grouping;,  and  even  the  subject 
represented,  only  to  enjoy  his  marvellous  paintin<jj  which 
includes  all  these  elements  and  forms  an  essentially  har- 
monious whole.  His  development  was.  perhaps,  slower 
than  that  of  Giorgione,  as  is  somewhat  indicated  l)y  "  The 
Virgin  and  Child  Adored  by  Saints"  (No.  1577).  The 
rectilinear  arrangement  of  the  figures  produces  a  softly 
undulating  line  formed  by  the  heads.  The  serene  beauty 
of  the  A'irgin  recalls  the  manner  of  the  predecessors  of 
Titian.  She  looks  tenderly  at  the  Child,  while  near 
them  an  enraptured  saint  raises  liis  eyes  to  the  group. 
According  to  ancient  custom  a  curtain  falls  behind  the 
Virgin. 

In  colouring,  Titian  far  surpassed  anything  that  had 
been  done  before  his  time.  His  reds  shine  with  a  bril- 
liancy and  richness  which  centuries  have  not  been  able 
to  dim.  It  seems  as  if  the  lustre  of  the  colour  started 
from  the  very  base  of  the  coat  of  paint,  and  as  if  there 
were  still  more  light  behind  that.  Even  the  persons 
in  shadow,  thanks  to  the  light  introduced  here  and  there, 
attain  an  incomparable  perfection  of  modelling  and  in- 
tensity of  life. 

These  qualities  he  developed  more  and  more,  particu- 
larly in  scenes  animated  with  movement  and  action. 
"The  XiTgin  of  the  Rabbit"  (No.  1578)  is  a  purely 
family  scene.     St.  Catherine  is  offering  the  Child  to  the 


VENETIAN  SCHOOL  AND   CORREGGIO       165 

Viro-in  who,  with  her  left  hand,  caresses  a  rabbit  toward 
which  the  Child  stretches  out  his  little  arms  with  an  ex- 
pression of  keen  pleasure.  Here  again  the  charming 
purity  of  outline  attracts  our  notice,  but  it  has  now 
become  more  energetic.  It  carries  the  eye  from  St. 
Catherine,  passes  over  her  head  and  descends  toward 
the  Infant  Jesus,  to  rise  again  to  the  Virgin  and  descend 
along  her  arm.  But,  far  from  being  hard,  this  line  is 
softened  by  the  curve  of  the  garments  and  veil  and  loses 
itself  insensibly  in  the  gracefully  draped  cloak.  The 
types  of  the  faces  already  foreshadow  those  superb, 
richly  clothed  Venetian  women  with  luxuriant  hair  and 
dark  eyes  for  which  Titian  afterwards  became  so  famous. 
A  warm  Italian  sky  stretches  over  the  beautiful  flowering 
landscape  and,  in  the  distance,  are  green  fields  and  clus- 
ters of  thick-foliaged  trees. 

"The  Holy  Family"  (No.  1580),  or  "The  Repast 
During  the  Flight,"  seems  to  be  a  variation  of  this  theme. 
The  same  harmony  prevails  here,  though  it  is  less  delicate. 
The  former  picture  is  remarkable  for  the  continuity  of 
the  outline,  but,  in  this  one,  the  outline  is  interrupted  by 
an  empty  space  which  the  outstretched  hand  of  St.  Joseph 
scarcely  fills.  The  undulating  outline  of  St.  Catherine  rises 
almost  vertically  here.  St.  John  is  not  a  child,  but  a 
dAvarf ,  and  the  lamb  has  the  appearance  of  being  made  of 
wood.  Notwithstanding  tlie  beauty  of  the  landscape, 
we  venture  to  think  that  this  is  the  work  of  an  imitator. 
The  same  appHes  to  "The  Holy  Family"  (No.  1596)  in 
the  La  Caze  Gallery.  But  in  the  other  "  Holy  Family " 
(No.  1579)  we  have  a  genuine  work  by  Titian.  With  a 
bold  departure  from  the  conventional,  the  Virgin  is  placed 


IGG 


PAIN'TIN'GS    Ol'    rilK    T.OrVRK 


E.  HautL'coeur,  Phot. 


Salle  VI 


1579.     The  Holy  Family.  —  Titian. 


on  the  extreme  right,  thus  causing  the  highest  cuhiiinating 
point  of  the  group  to  find  itself  on  the  side.  Her  head 
is  covered  with  a  white  veil  and  stands  out  in  relief 
against  the  dark  background.  She  holds  the  Child 
standing  on  her  lap  and  bends  her  head  toward  St.  Agnes 
who  offers  her  a  palra-leaf.  Her  eyes  fall  on  the  beautiful 
saint,  who  constitutes  the  real  centre  of  the  composition. 


VENETIAN   SCHOOL  AND   CORREGGIO       167 

This  saint  is  clothed  in  crimson  and  green,  and  her  youth- 
ful and  animated  body  is  full  of  life.  Her  face  is  again 
that  of  a  Venetian  beauty.  Her  hand  is  placed  on  the 
lamb  which  St.  John  leads  to  the  Cliild,  thus  causing  the 
eye  to  fall  gently,  to  rise  again  to  the  head  of  St.  John. 
The  principal  charm  of  this  work  is  the  perfect  harmo- 
ny of  dra\A'ing  and  colouring.  This  is  to  be  seen  in  the 
faces,  the  attitudes,  the  smiling  and  sunny  landscape, 
and  the  blue  distance  which  is  bathed  in  a  soft  and  lu- 
minous atmosphere. 

"The  Pilgrims  of  Emmaus"  (No.  1581)  is  less  expres- 
sive. Titian  has  indeed  attained  a  certain  degree  of  real- 
ism, but  the  face  of  the  Saviour  is  vapid  and  expressionless. 
It  seems  as  if  the  artist  had  experienced  difficulty  in  cov- 
ering the  canvas,  and  this  is  further  evidenced  by  the 
introduction  of  the  white  table-cloth  with  its  clearly  defined 
folds. 

The  "St.  Jerome"  (No.  1585)  is  a  study  of  night 
effects.  The  nude  body  of  the  saint  is  painted  broadly, 
with  the  colour  thickly  laid  on,  and  stands  out  distinctly 
against  the  wild  and  romantic  landscape.  There  are  a 
multitude  of  differently  directed  lines  in  this  kneeling 
figure.  Behind  the  tall,  dark  trees  is  seen  the  moon- 
light; magic  rays  play  on  the  tops  of  the  wild  mountains, 
on  the  cross  and  on  the  crucified  Saviour,  the  light  tints 
of  whose  body  show  distinctly  in  the  darkness  of  the 
night. 

One  of  Titian's  most  magnificent  creations  is  "  The  En- 
tombment" (No.  1584),  in  the  Salon  Carre.  It  was 
painted  in  the  full  maturity  of  his  talent,  about  1520, 
and  is  one  of  the  most  touching  works  in  existence.     Be- 


1()8  PAINTINGS   OF    THK   LOUVRE 

side  it  "The  Entombment"  by  Ua]>hacl  seems  confused 
and  crowded.     In  Titian's  picture,   Xicodcmus  and  St. 
Joseph  of  Arimathica  support  the  body  of  the  Saviour; 
St.  John  hoUls  His  right  arm,  and,  on  tiie  left  of  the  pic- 
ture, are  the  Virgin  and  St.  Mary  Magdalene  weeping. 
The  central  group  presses    round    the  body  of    Christ. 
The   principal   bearer,    Nicodemus,    turns    his    back    to 
us,    and    Joseph    of    Arimathfea    kneels   upon    a  stone. 
The  type  of  St.   John  still  vividly,  though  superficially, 
recalls   Giorgione.     The    grief    here    represented  is  pro- 
found.    The  women    are    most    im})rcssive,  and   Titian 
has    taken    them    from    life.      In    the    attitude    of    St. 
Mary   ^Magdalene,    dread    and    terror   at    the    sight    of 
death   are    expressed.       She    is    unable    to    turn    away 
her  eyes,  and,  though   she  wishes  to  tear  herself  away, 
she   looks  back  as    she  endeavours  to  draw  the  Virgin 
with  her.     The  expression  of  despair  on  the  face  of  the 
latter,  and  the  convulsive  contraction  of  the  fingers,  real- 
istically express  her  grief  and  her  irreparable  loss.     The 
modelling  of  the  Saviour's  body  is  admirable.     The  image 
of    death   is    not   suggested   by  the  face,  for  Titian  has 
placed  it  in  shadow,  but  rather  by  the  inertness  of  the 
limbs.     The  left  arm  falls  lifeless,  while  the  right  is  held 
up  by  St.  John,  and  the  inanimate  hand  drops  at  an  acute 
angle.     The   livid   colour  of    the   body  is    rendered   still 
paler  by  the  deep    and    rich   tones  which   surround    it, 
while,  at  the   sides  of  the  picture,  the  colouring  becomes 
lighter.     The  oblong  shape  of  the  picture  helps  to  give 
a  sensation  of  a  forward  movement   and  thus  lends  to 
the  whole  a  certain  appearance  of  lightness. 

"Christ  Being  Crowned  with  Thorns"  (No.  1583),  in 


169 


170 


i'AINTIX(.S   OK   THK   LOUVRE 


the  Salon  Carre,  was  painted  when  Titian  was  advanced  in 
years.     The  executioners  press  the  crown  of  thorns  upon 


E.  HauteccEur.  rhot.  Salon  Carr6 

1583.     Christ  being  crotcned  with  thorns.  —  T^Uian. 


the  Saviour's  head  by  means  of  long  staves.  This  is  a 
magnificent  work  of  art,  for  realism  has  been  boldly 
carried  to  the  greatest  perfection.     There  is  no  grouping 


VENETIAN   SCHOOL  AND   CORREGGIO       171 

here,  but  simply  a  mingling  of  figures.  Christ  is  a  hu- 
man being  whose  expression  and  attitude  are  touchingly 
real.  His  foot  is  stretched  out  with  a  convulsive  move- 
ment of  physical  pain,  and  the  colouring  of  the  body  is 
such  that  one  seems  to  see  the  coursing  of  the  blood  be- 
neath the  skin.  The  whole  is  broken  up  by  the  handling 
of  the  light,  and  yet  the  details  are  bound  together  by  it. 
This  light  falls  in  a  flood  upon  the  figure  of  Christ,  then 
on  the  arms  of  the  executioners  and  the  heads  of  the 
Pharisees.  There  is,  in  this  work,  an  overwhelming 
breadth  and  truth.  For  a  long  time  the  world  remained 
incapable  of  appreciating  such  creations,  for  it  did  not 
understand  their  greatness  and  considered  truth  but 
gross  realism. 

By  the  side  of  this  great  work,  the  picture  called  "  Christ 
on  the  Way  to  Calvary"  (No.  1582),  representing  Christ 
between  a  soldier  and  an  executioner,  appears  of  less  value, 
although  Titian  still  tried  to  attain  to  a  complete  realism. 
The  body  in  its  white  nudity  stands  out  on  a  dark  back- 
ground, and,  in  strong  contrast,  the  executioner  is  placed 
near  the  emaciated  face. 

"The  Council  of  Trent"  (Xo.  1586)  is  valuable  only 
as  a  spirited  sketch,  and  its  authenticity  is  questionable. 
The  beautiful  picture  of  "Jupiter  and  Antiope"  (No. 
1587)  is  no  more  than  a  ruin,  but,  in  spite  of  all  the  re- 
touching, we  still  feel  the  charm  of  the  landscape  which 
is  one  of  the  most  beautiful  that  Titian  painted.  We 
also  admire  the  effect  of  intense  light  which  the  artist, 
then  eighty  years  old,  was  able  to  give  to  the  body  of  the 
woman  at  rest. 

No   painter,    either   before   or   after  him,   has   known 


172 


r.\iN'i'i\Gs  nv  THK  louvre 


E.  IIniitto.-iir.  I'h.rt.  5al,jn  Carr^ 

15D0.     ^ilpliunso  of  Ferrara  and  Laura  iJianti.  —  Titian. 

how  to  interpret  the  beauty  of  woman  as  v>ell  as  Titian. 
What  he  represents  is  very  different  from  the  severe  Vir- 
gin of  Botticelli,  from  the  Sphinx  of  Lionardo,  or  the  sweet- 
ness and  vapidity  of  Raphael's  women,  and  is  warm  and 
full  of  life  and  its  pleasures.  These  characteristics  appeal 
to  us  in  "Alphonso  of  Ferrara  and  Laura  Dianti"  (No. 


VENETIAN  SCHOOL  AND  CORREGGIO       173 

1590),  in  the  Salon  Carre.  Alphonso  of  Ferrara,  who 
plays  the  part  of  an  attendant  presenting  Laura  Dianti 
with  a  mirror,  is  in  the  deepest  shadow  and  the  light  falls 
only  on  his  forehead.  The  beautiful  woman  turns  to- 
Avard  the  mirror,  and,  by  this  movement,  her  bodice  is 
slightly  disarranged.  The  manner  in  which  she  gathers 
up  her  hair  is  full  of  exquisite  grace  and  it  is  in  presence 
of  these  wonderful  tresses  that  we  realize  what  is  meant 
by  Titian  red.  The  lines  of  the  garment  stand  out  on 
the  dark  background,  producing  a  very  pleasing  effect. 
The  arm  is  charmingly  placed  in  the  dim  light  caused 
by  the  folds  of  the  sleeve.  In  the  face,  with  its  dazzling 
forehead,  we  feel  the  blood  coursing  under  the  velvety 
skin  and  colouring  the  cheeks.  The  small,  half-closed 
mouth  and  brilliant  eyes  suggest  no  enigmas ;  they  speak 
of  the  joy  of  living,  of  happiness  and  pleasure.  In  view 
of  so  much  beauty,  it  is  difficult  to  take  this  picture  for 
a  portrait.  It  is  an  idealized  rendering  such  as  the  art 
of  the  sixteenth  century  alone  could  produce,  and  in  it 
remains  a  little  of  that  golden  age  when  happiness  was  a 
simpler  thing  than  it  has  become  to-day. 

In  "  The  Allegory  in  Honour  of  Alphonso  of  Avalos " 
(No.  1589),  the  man  in  armour  is  a  strikingly  realistic 
portrait.  A  woman  is  seated  with  a  ball  of  glass,  the  sym- 
bol of  fragile  happiness,  on  her  knees.  Before  her  stands 
Hymen  and  a  cupid  crowned  with  myrtle  presents  her 
with  his  arrows.  It  is  not  necessary  to  know  the  exact 
meaning  of  this  allegory.  What  we  admire  is  the  group- 
ing and  economy  of  space,  notwithstanding  the  crowding 
together  of  so  many  figures.  This  picture  shows  how 
great  was  the  mastery  of  Titian  in  portrait  painting. 


174.  rAINTINGS   OF   THE   LOUVRE 

We  are  inclined  to  think  that  his  "  Portrait  of  Francis  I " 
(No.  1588)  was  not  painted  from  hfc.  The  full  profile 
reminds  us  of  a  bas-relief  or  a  medal.  It  is  difficult 
to  become  reconciled  to  the  artificial  smile  on  the  face. 
But  the  dark  pinks  of  the  velvet  jerkin  are  magnificently 


E.  Hauteiuiir.  I'lmt. 


Snlle  VI 


15S9.     Allegory  in  honour  of  Alphonso  of  Avalos.  —  Titian. 

reproduced.  "The  Man  with  a  Glove"  (No.  1592),  in 
the  Salon  Carre,  is  a  very  living  portrait.  One  might 
be  tempted  to  say  that  this  picture  offers  more  than 
was  to  be  found  in  the  subject  of  it  at  any  particular 
moment,  for  here  Titian  gives  us  all  the  past  and  a 
little  of  the  future.  There  is  a  vague  and  thoughtful 
look  in  the  eyes  which  are  of  one  who  dreams  and  sees 


VENETIAN   SCHOOL  AND   CORREGGIO       175 


E.  Hautecreur,  Phot. 


Salon  Cari6 


1588.     Francis  I.  —  Titian. 


visions.  To  this  face  a  strong  will  is  lacking,  a  lack 
further  indicated  by  the  way  in  which  the  body  is  made 
to  lean  and  seek  support.  The  contrast  of  light  and 
shade  on  the  face,  as  well  as  the  fine  modelling,  is 
admirable. 

It  is  probable  that  the  beautiful  picture  called  "  The  Man 


176 


PAINTINGS   OF   THE   LOUVRE 


with  a  Hand  on  his  Hip"  (So.  1591)  was  painted  at  about 
the  same  time  as  "  The  Man  with  a  Glove."  There  is  some- 
thing noble  and  aristocratic  here;  the  eyes  with  their  look 
of  assurance  are  full  of  meaning.  The  light  is  beautifully 
concentrated  on  a  single  portion  of  the  face,  and  the  colour- 


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1593.     The  man  xoith  a  glove.  —  Titian. 


ing  is  made  more  striking  by  the  deep  shadows  contrast- 
ing with  the  white  linen. 

We  are  tempted  to  doubt  the  authenticity  of  the  "  Por- 
trait of  a  Man"  (No.  1593)  attributed  to  Titian.  Not- 
withstanding the  fine  modelling  of  the  hand,  this  picture 
is  marred  by  something  strange  in  the  expression.  The 
man  does  not  look  us  in  the  eyes.     The  dark  beard,  more- 


VENETIAN  SCHOOL  AND   CORREGGIO        177 

over,  loses  itself  in  the  sombre  clothes,  and,  even  if  we 
consider  that  the  hues  have  blackened  with  time,  Titian, 
the  colourist,  could  never  have  painted  them  even  as  they 
must  have  been  originally. 

The  very  fine  "Portrait  of  a  Young  Man"  (No.  1185) 
in  the  Long  Gallery,  must  have  been  inspired  by  Titian, 
but  executed  by  his  pupil  and  companion,  Giovanni 
Stefano  de  Calcar  (1510.^-1546). 

If  we  combine  the  grandeur  of  Titian  and  Palma 
Vecchio,  allowing  only  the  sensuality  and  richness  to 
predominate,  we  obtain  the  manner  of  Paris  Bordone 
(1500-1570).  His  colouring  and  action  are  admirable, 
and  he  paints  luxuriant  Venetian  hair  in  the  Titian 
manner,  but  there  is  "  much  flesh  and  little  sentiment " 
in  his  pictures.  In  his  "  Yertumnius  and  Pomona  "  (No. 
1178),  we  see  two  beautiful  but  insignificant  persons. 
Pomona  seems  only  conscious  of  her  beauty ;  it  is,  how- 
ever, a  pleasure  to  contemplate  the  warm  life  animating 
these  productions. 

What  has  just  been  said  applies  still  more  to  the  new 
picture  by  the  same  artist,  "  The  Portrait  of  a  Woman  " 
(No.  1180a),  in  the  Long  Gallery.  This  is  a  beautiful 
rendering  of  a  woman  with  brilliant  colouring  and  charm- 
ingly posed.  Her  fair  hair  contrasts  vividly  with  her  deep 
blue  eyes,  and  the  rich  tones  of  her  velvet  costume  throw 
a  delicate  reflection  over  the  composition.  These  quali- 
ties exclude  all  idea  of  an  actual  portrait,  for  they  tend  to 
soften  and  idealize  character,  as  is  likewise  true  of  his 
"Portrait  of  Jerome  Crofft"  (No.  1179).  This  latter  is 
the  likeness  of  a  carefully  adorned  person,  but  has  little 
life.     "Philip  II  and  his  Tutor"   (No.  1180)  also  lacks 


178 


PAINTINGS   OF   THE   LOUVRE 


E.  HaiJtcccirur,  Plii.t. 


Sal.n  Carrti 


1179.     Portrait  of  Jerome  Crofft.  — Paris  Bordone. 

strength  and  modelling,  in  spite  of  the  well-executed, 
wrinkled  face  of  the  old  man.  There  is  nothing  life- 
like about  it  except  the  treatment  of  the  old  man's  hands 
and  of  those  of  the  child. 

The   "Herodias"   (No.    1674  a),  though   quite   in   the 
manner  of  Bordone,  is,  probably,  by  one  of  his  pupils. 


VENETIAN   SCHOOL  AND   CORREGGIO       179 

Herodias  has  almost  the  same  face  as  Pomona  in  No. 
1178,  but  the  expression  of  the  executioner  in  shining 
armour  is  brutal  and  he  is  badly  placed  on  his  legs. 
Bordone  was  not  a  great  artist,  but,  nevertheless,  had  de- 
cided and  definite  characteristics. 

The   same   cannot   be   said   of   the   Bonifazio   family. 
The  three  masters  of  this  name,  though  skilful,  were  only 


£.  HauteiLLur,  I'lut.  Sail..'  VI 

1172.       The,  Virgin  and  Child.  — Bonifazio,   Veronese  IT. 

imitators.  "  The  Virgin  and  Child  with  St.  Agnes  and  St. 
Catherine"  (No.  1172)  is  disfigured  by  archaic  attributes. 
The  attitude  of  the  Child  even  recalls  the  old  school  of 
the  Bellinis  (see  No.  1158),  and  the  composition  is  in- 
coherent. This  work  may  be  attributed  to  a  pupil  of 
Palma  Vecchio,  owing  to  the  type  of  the  faces.  But 
"The  Virgin  and  Child  with  Saints"  (No.  1171)  brings  us 
back  to  the  great  art  of  Venice.  Here  is  the  rectilineal 
grouping  of  the  figures,  and  undulating  and  varied  lines 
formed  by  their  heads.  The  persons  are  bound  together 
artistically,  yet  the  faces,  though  beautiful,  are  insipid. 


ISO  PAIN  riNdS   OF   TlIK    LOUVllE 

This  is  the  work  of  an  imitator  of  the  Venetian  sehool, 
])rohal)ly  Hoiiifazio  II  Veronese  (1494-1555).  In  a  seeond 
"Holy  Family"  (No,  1G74  d),  which  is  quite  Venetian  in 
composition,  a  new  element  is  added,  namely,  the  influ- 
ence of  Raphael,  which  is  clearly  to  be  seen  in  the  men's 
features.  The  picture  full  of  fif^ures,  called  "  The  Resur- 
rection of  Lazarus"  (No.  1170),  is  but  a  variation  of 
Raphael's  cartoon  called  "  Feed  INIy  Sheep." 

Before  imitation  and  the  academic  manner  took  root, 
Venice  produced  one  of  the  greatest  painters  of  all  time, 
Jacopo  Robusti  Tintoretto  (1519-1594).  His  contempo- 
raries, though  they  often  praised  him,  did  not  entirely  un- 
derstand him.  Posterity,  owing  to  the  judgment  passed 
upon  him  by  Vasari,  was  blind  to  his  merits.  It  was 
John  Ruskiu  who  first  recognized  his  real  greatness. 

The  aim  of  Tintoretto  was  to  combine  the  colouring 
of  Titian  with  the  drawing  of  ]\lichael  Angelo,  and  his 
talent  was  so  great  that  these  two  cjualities  are  united  in 
him  in  such  a  manner  that  we  do  noi*  notice  them  sepa- 
rately. Though  time  has  dealt  unkindly  with  his  work 
and  so  dimmed  it  that  the  blues  have  become  black,  and 
it  is  often  only  by  means  of  the  imagination  that  we  can 
restore  the  full  splendour  of  the  colouring,  enough  is  left 
to  make  us  recognize  the  wonderful  power  of  the  master 
in  this  respect.  Rude  restorations  have  not  done  less 
harm  than  the  ravages  of  time. 

The  charm  of  light  and  landscape,  the  power  of  move- 
ment and  the  truth  of  action  and  expression  are  all 
united  in  his  work,  as  may  be  seen  in  the  "  Susanna  after 
the  Bath"  (No.  1464).  This  beautiful  woman  is  seated 
in  the  foreground  and  is  being  attended  by  two  servants. 


VENETIAN  SCHOOL  AND   CORREGGIO       181 

The  body,  still  glistening  with  moisture,  stands  out  in 
relief  against  the  shadow  of  the  trees.  This  scene  is 
separated  by  a  wall  from  the  landscape  beyond.  On  the 
undulating  surface  of  the  water  some  birds  float  gently, 
and  we  perceive  two  old  men  near  a  table  in  the  back- 
ground.    The  genius  of  Tintoretto  knew  how  to  avoid 


Sail  in  Carre 


llfSJf.     Susanna  after  the  bath.  —  Tintoretto. 


the  danger  of  the  affectation  with  which  this  subject 
was  so  often  treated.  Susanna  is  arranging  her  hair  and 
this  obliges  her  to  turn  her  head  to  one  side.  There  is 
something  about  her  that  reminds  us  of  Titian's  women. 
Her  occupation  and  that  of  her  servants  cause  all  the  artic- 
ulations to  appear,  and  her  whole  body  is  full  of  movement. 
The  action  of  the  two  attendants  is  natural  and  graceful. 
The  two  inquisitive  old  men  are  half  concealed  by  the  table 


182  PAINTINGS   OF   THE   LOUVRE 

ill  tlio  distance  and  are  subordinated  so  as  not  to  disturb 
the  poetry  of  the  scene.  And  yet  they  are  far  from  beinfj 
accessories,  for  they  are  drawn  into  the  picture  by  means  of 
the  handhn"^  of  the  h«fht,  which  iUumines  the  work  with  a 
sinfj^le  hir<i;e  ray  passinj^  over  their  heads,  playinjij  tliroufjh 
the  trees  and  bathinjj;  the  beautiful  woman's  body  with 
a  fresh  and  silvery  radiance.  If  we  let  our  ima<jination 
restore  the  original  deep  blue  of  the  water  and  recall  the 
soft  shadows  as  they  once  must  have  been,  we  have  a 
sj)len(lid  work  of  incomparable  colouring  and  charm. 
All  these  qualities  are  wanting  in  the  second  interpre- 
tation of  the  same  subject  (No.  1408),  which  is  cer- 
tainly not  a  work  by  Tintoretto.  The  expression  of 
Susanna  is  meaningless  and  affected.  The  two  women 
on  the  right  with  their  faces  in  contact  form  an  unpleas- 
ing  composition.  The  different  groups  do  not  hold  to- 
gether, and  the  architecture  in  the  background  and  the 
marble  statues  in  the  foreground  scarcely  suffice  to  con- 
ceal the  empty  spaces.  Neither  can  "  The  Virgin  and 
Child  between  St.  Francis  and  St.  Sebastian  "  (No.  1409) 
be  attributed  to  Tintoretto,  for  the  monotonous  attitude 
of  the  saints,  the  conventional  movements  of  the  hands 
and,  above  all,  the  empty  and  almost  insipid  expression 
on  the  face  of  the  kneeling  donor  of  the  picture  show 
the  work  to  be  by  an  inferior  hand.  But  the  expressive 
sketch  of  a  "Dead  Christ  with  Two  Angels"  (No.  1464  a) 
is  certainly  by  Tintoretto.  Death  is  here  interpreted  by 
a  few  strokes  of  the  brush  in  such  a  manner  that  the  head 
falls  inertly  to  one  side,  while  the  limbs,  owing  to  the  rigidity 
of  death,  are  pressed  together  as  they  were  nailed  to  the 
cross.     The  tears  of  the  angel  are  human  and  touching. 


VENETIAN   SCHOOL  AND   CORREGGIO        183 


Hiaun,  Clement  .V  Cie.,  Phot. 


Salle  XV 


1466.     Portrait  of  Tintoretto.  —  By  himself. 


In  1587  it  was  decided  in  Venice  to  decorate  the  wall 
behind  the  throne  of  the  gr^at  Council  Hall,  with  paradise 
as  a  subject.  Tintoretto,  at  the  age  of  seventy,  "  prayed 
the  nobles  to  give  him  the  commission  to  paint  the  para- 
dise which,  by  the  grace  of  God,  he  hoped  to  attain  after 
death."     It  is  thus  that  he  created  that  wonderful  work. 


184  PAINTINGS   OF   THE   LOUVRE 

the  visible  interpretation  of  the  immortal  conception  of 
Dante. 

The  small  picture  "Paradise"  (No.  140.5)  is  from  the 
IJevillaqua  Palace.  From  on  hi<];h  a  li^ht  hursts  from 
the  throne  of  God  the  Father.  Beneath  this  the  Saviour, 
surrounded  hy  the  Apostles,  crowns  the  \'ir<^in  as  Queen 
of  Heaven.  Large  hanks  of  clouds  succeed  each  other. 
In  this  heaven  float  the  fitfures  of  the  elect,  and  in 
graceful  circles  and  bathed  in  a  magic  light,  they  sur- 
round the  Divinity  seated  on  the  throne  above.  In- 
numerable figures  emerge  from  these  ethereal  clouds, 
and  the  rays,  starting  from  the  saints,  converge  toward 
the  central  light,  as  if  attracted  l)y  (Jod  the  Father. 
Light  triumphs  everywhere,  and  all  sense  of  weight  and 
every,  earthly  characteristic  disappear. 

Tintoretto  was  also  a  great  portrait  painter.  His 
"Portrait  of  Himself"  (No.  1466),  in  Salle  XV,  has  a 
strong  and  penetrating  expression  and  is  a  fine  work. 
In  his  "Portrait  of  a  Venetian  Senator"  (No.  l-iTl),  in 
the  La  Caze  Gallery,  the  features  are  strongly  accentuated 
by  the  lights  which  play  on  the  forehead,  the  nose,  and 
under  the  eyes,  giving  them  a  great  intensity  of  life  and 
modelling  the  cheeks  in  shadow.  There  is  the  same 
treatment  of  diffused  light  in  the  "  Portrait  of  a  Man  with 
a  Handkerchief"  (No.  1467).  The  expression  is  calm 
and  intelligent,  and  latent  strength  is  well  indicated  by 
the  position  of  the  hand.  By  the  side  of  such  works 
the  "Portrait  of  Pietro  Mocenigo"  (No.  1470)  and  the 
"Portrait  of  a  Man"  (No.  1472)  appear  almost  weak  in 
character.  They  were,  probably,  painted  by  pupils, 
though,  perhaps,  touched  up  by  the  overworked  master. 


VENETIAN   SCHOOL  AND   CORREGGIO       185 


E.  Hautecceur,  Flint 

1471.     A  Venetian  Senator.  —  TiiUoretio. 


Salle  I 


A  genius  like  Tintoretto  could  only  remain  isolated, 
though  Titian  and  Michael  Angelo  were  his  models,  and 
in  his  works  are  traces  of  what  Rembrandt  was  to 
become. 

The  family  of  artists  named  Bassano  attempted  to 
imitate    Tintoretto's    colouring.      Jacopo    da    Ponte    il 


186 


PAINTINGS   01'    THE   LOUVRE 


Bassano  (1510-1592)  painted  landscapes  always  con- 
structed on  the  same  model,  a  blue  mountain  in  the  back- 
fijround  and  groups  of  trees  to  the  right  and  left.  He  was 
really  an  animal  painter,  but,  not  caring  to  acknowledge 


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Braun,  Clement  6c  Cie.,  I'lint 


1424-     The  smiting  of  the  rock.  —  Bassano. 

this  limitation,  subordinated  it  by  representing  Biblical 
scenes;  hence,  "The  Entrance  of  the  Animals  into  the 
Ark"  (No.  1423),  "The  Smiting  of  the  Rock"  (No.  1424), 
and  "The  Carrying  of  the  Cross"  (No.  1426),  where  the 
horses  are  the  most  important  element.  In  "  The  Wed- 
ding of  Cana"  (No.  1425)  the  personalities  are  relegated 
to  the  background,  while  the  foreground  is  principally 


VENETIAN   SCHOOL  AND   CORREGGIO       187 

occupied  by  a  cat  and  a  dog.  As  this  scene  is  very  un- 
pleasing,  we  are  grateful  to  the  artist  for  this  arrangement. 
There  is  something  of  the  Dutch  school  apparent  in  this 
Venetian,  for  "The  Grape  Gathering"  (No.  1428)  is  quite 
in  the  Dutch  manner.  His  "  Descent  from  the  Cross " 
(No.  14i'27),  even  if  not  original,  is  full  of  remarkable 
characteristics  from  his  manner  of  treating  light  effects  and 
grouping.  This  same  may  be  said  of  Bassano's  son, 
Leandro  (1558-1623).  His  "Adoration  of  the  Magi" 
(No.  1430)  served  as  a  pretext  for  painting  animals  in 
landscapes  similar  to  those  painted  by  his  father. 

A  contemporary  of  Tintoretto  was  Paolo  Caliari,  sur- 
named  Veronese  (1528-1588).  Though  jjorn  and  educated 
in  Verona,  he  held  up  the  mirror  to  Venetian  life.  The 
zenith  of  the  glory  of  the  republic  had  been  reached  and 
even  passed.  Innumerable  treasures  were  accumulated 
in  Venice,  and  in  this  great  mart,  where  the  East  and  West 
mingled,  the  politics  of  the  half  of  Europe  were  concen- 
trated. The  daring  navigator,  the  shrewd  merchant,  the 
astute  diplomat  became  voluptuous  in  these  magic  sur- 
roundings, and  pleasure  was  raised  to  the  level  of  an  art. 
Circumstances  made  greater  expansion  impossible,  for 
the  Turkish  peril  closed  the  East  to  Venice.  The  "  Queen 
of  the  Adriatic  "  now  abandoned  herself  to  the  enjoyment 
of  her  previously  amassed  riches.  Existence  became  a 
continual  vertigo,  an  unending  feast  and  revelry,  and  Paul 
Veronese  was  the  great  interpreter  of  this  life.  He  had 
neither  the  mystic  colouring  of  Titian  nor  the  grandeur 
of  Tintoretto,  nor  did  he  pretend  to  much  sentiment. 
Veronese  narrated  only,  but  he  narrated  with  epic  breadth. 
He  represented  the  Venice  of  his  time  and  painted  hand- 


188 


rAINTIX(;S   OF   THK    LOUVUE 


some  men  satisfied  and  content  with  their  sensuous  life, 
beautiful  women  adorned  with  jewels  and  clothed  in 
rustlin<;  silks,  and  bancjuets  held  in  the  vast  and  su])erb 
halls  of  the  Rcnahnance. 

In  "The  lUirning  of  Sodom"  (No.  1187)  are  depicted 


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E.  }iautecc£ur,  Phoi. 


Salle  VI 


11S7.     The  burning  of  Sodom.  —  I'erotiete. 


beautiful  women  in  graceful  attitudes.  In  the  fore- 
ground are  the  t^o  daughters  of  Lot  guided  by  an  angel; 
behind  them,  I^ot  himself  accompanied  by  a  second 
angel ;  and,  against  the  dark  sky  of  night,  stand  out 
groups  of  trees  and  the  white  column  of  salt.  In  the 
background  we  see  the  flames  of  the  city  on  fire.  Here 
there   is   no   attempt   to   express   sentiment.     The  flight 


VENETIAN   SCHOOL   AND    CORREGGIO      189 

is  a  pretext  for  showing  the  fluttering  of  robes  in  the 
wind  and  the  movement  of  beautiful  arms.  One  of  the 
fleeing  women  is  tying  up  her  sandal  and  is  thus  given  a 
plastic  position  full  of  movement  and  a  charming  outline. 
Paul  Veronese,  son  of  a  sculptor,  had  learned  art  of 
his  father  and  all    his    life  retained    something  of   the 


E.  Hautecoeur,  Phot.  Salle  VI 

1188.     Susanna  and  the  Elders.  —  Veronese. 


sculptor  in  his  work.  When  he  painted  "Susanna  and 
the  Elders"  (No.  1188),  he  merely  reproduced  a  beauti- 
ful woman  of  pleasure  in  a  plastic  attitude,  partially 
draped  in  yellow  silk.  Veronese  limited  himself  to  inter- 
preting a  gallant  adventure  in  warm  colours  w'ithout 
appearing  to  be  scandalised,  and  we  can  easily  under- 
stand w^hy  all  Venice  appreciated  his  work.     The   "Es- 


I!M)  l-AINIINdS    OF    T  HI',    IA)L"VUK 

tlior  before  Aliasiiorus"  (No.  1180)  represents  a  Venetian 
eourt  of  law.  History  was  doubtless  little  known  to  the 
majority  of  \ fnetians,  l)ut  what  ^'eronese  painted  they 
understood.  Here  is  a  throne,  an  ideali.sed  l)o<^e  sur- 
rounded by  his  eouncil  and  before  him  a  beautiful  woman 
wlio  falls  fainting'  into  the  arms  of  her  attendants.  The 
artist  did  not  give  himself  much  trouble  in  this  composi- 
tion. There  are  two  separate  groups,  each  forming  a 
dazzling  and  magnificent  whole,  (xuided  by  his  fault- 
less taste,  Veronese  placed  Esther  in  the  l)ack  of  the 
principal  group.  She  .stands  out  in  relief  by  reason  of 
her  exfjuisite  ivory-pink  tints  and  the  brilliant  gown. 
What  Veronese  created  was  more  dazzlintj  than  niov- 
ing,  and  tliis  is  why  he  w^as  unable  to  deal  with  reli- 
gious subjects.  In  "  The  Saviour  Succumbing  under  the 
Weight  of  the  Cross"  (Xo.  11J)4'),  the  assistant  execu- 
tioner is  a  fine  and  })oldlv  treated  figure.  The  Sav- 
iour  is  ])ainted  in  those  soft  tones  and  warm  colours  in 
which  \'eronese  was  a  pa.st  master.  But  the  faces  of 
Christ  and  of  the  two  women  in  the  l)ack<rround  are 
without  soul.  Suffering  and  human  pain  were  strangers 
to  Veronese.  He  w-as  a  sensual  Venetian,  and,  although 
he  observed  all  the  requirements  of  the  Church,  their 
meaning  remained  unknown  to  him.  This  may  be  .seen 
in  the  treatment  of  his  "Calvary"  (Xo.  1195).  The 
picture  is  bathed  in  those  beautiful  fresh  tints  and  silvery 
tones  which  might  naturally  cause  Veronese  to  be  called 
"The  Silvery  Master."  These  tones  make  us  overlook 
many  shortcomings,  such  as  the  conventional  face  of  the 
crucified  Saviour  and  the  badly  composed  group  which 
surrounds  the  Virgin  and  St.  Mar}'  Magdalene  at  the  foot 


VENETIAN   SCHOOL  AND   CORREGGIO       191 

of  the  cross.  The  faulty  arrangement,  as,  for  instance,  the 
concentration  of  the  whole  scene  on  the  left,  gives  the  pic- 
ture an  obvious  excess  of  empty  space  which  is  barely 
filled  by  the  distant  view  of  Jerusalem.    The  small  sketch, 


E.  HautcLLuur,  Thut. 


Salic  VI 


1195.      Calran/.  — Veronese. 


"Jesus  healing  Peter's  Wife's  Mother  (No.  1191a)  is 
treated  with  his  usual  lack  of  seriousness.  Here  are  also 
light-hearted  Venetians  in  a  Venetian  setting. 

Veronese  has  been  called  the  painter  of  Venetian 
banquets,  and  the  description  is  apt,  for  no  one  so  well 
represented  the  splendours  of  the  "City  of  Canals." 
When  he  painted  "The  Holy  Family"   (No.   1191),  he 


11>'J  rAINTINGS   OF   TllK    LOL  \"UK 

placiMl  the  scene  in  n  magnificent  ]ialace,  with  heavy 
curtains  falHiif^  in  I  lie  hackj^round.  The  \'irt,Mii,  who 
presents  the  Chihl  fo  the  adoration  of  tiie  nuns,  is  a 
Venetian  type.  She  has  not  the  ca])tivatin<i;  hcauty  of  tlie 
Vir<^ins  of  Pahna  Vecchio  and  'I'itian,  hut  a  certain 
st)ftness  and  anij)ntude  of  form  witliout  duiracter.  There 
is  no  sentiment  of  maternal  love  indicated  in  these  fea- 
tures. The  Venetian  woman  was  a  stranger  to  all  in- 
tellectual life,  for  continual  c-ontact  with  the  East  had 
modified  her  position  and  made  her  incapal)le  of  strong 
emotions.  Grace  of  attitude  and  movement  were,  how- 
ever, second  nature  to  her. 

The  finest,  perhaps,  of  Veronese's  Virgins  is  the  figure 
in  "Tile  Holy  Family"  (No.  111)0)  in  the  Salon  Carre. 
In  accordance  with  the  traditional  manner,  the  \'irgin  is 
seated  in  front  of  a  richly  decorated  curtain  which  falls, 
not  vertically,  but  in  softly  flowing  folds.  The  Child, 
standing  on  her  knees,  bends  forward  and  blesses  St. 
Benedict  who  is  being  presented  by  St.  Agnes.  On  the 
right  St.  George  approaches.  There  is  no  refined  psychol- 
ogy, no  deep  feeling,  no  impressive  grandeur  here,  but 
beauty  alone  and  the  pleasure  of  life.  The  Virgin,  a 
Venetian  patrician  with  a  winsome  expression,  holds  the 
Child  in  a  languorously  delicate  attitude.  St.  Agnes  is 
gracefully  and  most  naturally  represented,  and  St.  George 
bows  with  the  distinction  of  a  nol)leman  before  a  lady 
of  quality.     No  serious  thoughts  are  inspired  by  this  work. 

As  we  associate  the  "  ^Nlonna  Lisa "  with  Lionardo, 
"  The  Sistine  Madonna"  with  Kaphael,  and  "The  Last 
Judgment"  with  ^Michael  Angelo,  so  the  name  of  Paul 
Veronese  recalls  the  picture  of  "  The  Wedding  Feast  of 


VENETIAN   SCHOOL   AND   CORREGGIO       193 


E.  HautecLi-ur.  I'liut. 


Sail  in  Carr6 


1190.     Holy  Family.  — Veronese. 


Cana"  (No.  1192)  in  the  Salon  Carre.  Here  he  could 
give  full  play  to  his  talent  and  be  entirely  himself.  The 
canvas  was  painted  in  1562  for  the  refectory  of  St.  George 
the  Greater  and  is  most  certainly  a  faithful  representation 
of  the  noisy  life  of  Venice.  It  is  a  painted  document.  In 
a  large  Renaissance  hall,  with  the  Campanile  in  the  back- 
ground, Christ  has  just  performed  the  miracle  of  turning 
water  into  wine.     Seated  in  the  middle  of  a  horseshoe 


.3 
O 


194 


VENETIAN   SCHOOL  AND   CORREGGIO       195 

table  at  the  side  of  the  ^  irgin,  He  is  only  faintly  distin- 
guished by  a  feeble  halo.  The  remainder  of  the  scene 
is  entirely  worldly.  The  repast  approaches  its  end,  and 
order  is  beginning  to  be  disturbed.  The  children  have 
left  their  places,  and  the  greyhounds  are  with  diffi- 
culty kept  in  restraint.  The  servants  struggle  here  and 
there,  loaded  with  flagons  of  wine  and  with  dishes.  Vero- 
nese, apparently,  could  not  help  subordinating  the  fact 
that  he  was  painting  a  scene  from  the  Gospels.  Our  notice 
is  mainly  drawn  to  the  principal  group  on  the  left,  and 
scarcely  rests  upon  the  Saviour.  The  most  interesting 
figures  in  this  group,  which  consists  entirely  of  por- 
traits, are  the  newly  married  couple;  the  Ijritlegroom 
is  a  portrait  of  the  Duke  of  Avalos  and  the  beautiful 
bride  is  Eleanor  of  France.  Her  real  husband,  Fran- 
cis I,  leans  toward  his  neighbour,  and,  on  the  left, 
is  Queen  Mary  of  England.  Next  to  Queen  INIary  is  the 
characteristic  head  of  Soliman  the  Magnificent,  and  be- 
yond him  again  is  Victoria  Colonna.  The  angle  of  the 
table  is  occupied  by  the  Emperor  Charles  V.  The  series  of 
portraits  continues  to  our  right  in  the  same  way.  In 
the  middle  foreground  is  Veronese  himself  playing  on  the 
viola;  at  his  side  are  Tintoretto  with  a  guitar  and 
Bassano  with  a  flute,  while  Titian  holds  a  bass  viol. 
The  tall  figure  with  turban  and  dagger  standing  on 
Veronese's  right  is  Pietro  Aretino.  On  the  other  side 
stands  Veronese's  brother,  Benedetto,  with  a  cup  in  his 
hand.  It  is  difficult  to  make  out  whether  he  is  pledging 
a  toast  or  is  assuring  himself  of  the  reality  of  the  miracle. 
Thus  is  this  sacred  scene  converted  into  a  revel. 
Here  again,  it   is  not  the  construction  and  composition. 


liKi  I'AINIINGS   C)l'    1111.    l.Ol   \  Kl'- 

whicli  coiislitutc  the  «,'ran(lour  of  the  picture,  but  the  repre- 
sentation of  eac-h  indiNidual  ])ers()u.  \'eronese  (leUt,fhte(l 
in  rej>ro(hicin<j;  a  lixiii^^  si-rnv  exactly,  and  this  is  mani- 
fested liere  witli  an  inconiparahk'  richness  of  movement. 
Everything'  inchcates  the  animation  of  the  bantiuet. 
Victoria  Coh)nna  toys  with  a  tootlipick;  Avalos  takes 
a  cup  of  wine  from  the  hands  of  a  page;  and  Sohman  hs- 
tens  to  what  the  prince  of  the  Moors  says  to  a  servant. 


E.  Hautei-u:ur,  I'lmt.  ^■'l""  C-arre 

1193.      Tun  rejjuxt  at  the  house  of  Siiuuii.  — Veronese. 


The  whole  scene  is  bathed  in  the  silvery  light  characteristic 
of  Veronese.  Yellow,  blue,  and  red  tints  are  clearly  set 
in  juxtaposition,  and  with  these  elements  of  colouring 
appear  purely  plastic  poses.  The  servant  in  the  fore- 
ground on  the  right  shows  a  most  daring  foreshortening, 
while  Benedetto  is  posing  with  a  studied  grace. 

Veronese  painted  this  subject  over  and  over  again,  for 
every  convent  wished  to  possess  it  for  its  refectory  and  his 
inexhaustible  genius  was  always  able  to  treat  it  differently. 
"The  Repast  at  the   House  of   Simon"  (No.  1193)  was 


VENETIAN   SCHOOL  AND   CORREGGIO        197 

painted  for  the  Convent  of  the  Servites  in  Venice.  Here 
the  iruests  are  distributed  at  two  tables,  and,  between 
them,  St.  Mary  Magdalene  is  kneeUng  and  anointing  the 
feet  of  Christ,  while,  on  the  left,  Judas  rises  to  rebuke  her. 
Here  again  everything  is  Venetian — the  costumes,  the 
heads,  and  the  high  hall  supported  by  columns  with  is 
rich  architecture  in  the  background.  The  composition, 
however,  is  not  without  defects.     It  is  cut  in  two,  and  al- 


I-;.  H.i  ,t./  .,  -jr,  1  h   t  Salic  VI 

1196.      The  pllgrbm  of  Emmaus.  — Veronese. 


though  St.  Mary  Magdalene  is  the  principal  subject  and 
is  intended  to  bind  the  two  parts  together,  owing  to 
the  prostrate  attitude  in  which  she  almost  disappears  she 
does  not  fill  in  the  empty  space.  The  silvery  tint,  how- 
ever, which  pervades  the  whole  picture  makes  us  overlook 
its  shortcomings.  Here  is  no  longer  the  intense  life  of 
"The  Wedding  Feast  of  Cana,"  but  a  certain  gentle  and 
quieter  pleasure  is  indicated. 

This  is  likewise  true  of  the  beautiful  picture  called  "  The 
Pilgrims  of  Emmaus"  (No.  1196)  where  Christ,  seated 
in  the  middle,  blesses  the  bread  and  wine.     On  the  right, 


198  PAINTINGS   OF   THE   LOUVRE 

Veronese  is  staii(liii<i;  with  his  family  and  his  brother 
Benedetto.  One  is  tempted  to  say  that  here,  and  liere 
only,  wiiere  Wronese  represented  himself  in  the  midst 
of  liis  wife  and  children,  he  e\j)ressed  real  feelin<r.  There 
is  a  stirrinti;  emotion  in  the  expression  of  Christ  and  real 
tenderness  in  the  look  which  the  dau<j;hter  raises  to  her 
mother.  If  his  other  works  have  only  stirred  our  senses, 
this  composition  draws  him  nearer  to  our  hearts. 

One  mi«rlit  naturally  think  that  these  qualities  would 
have  made  Veronese  the  greatest  j)ortrait  painter  of  Venice, 
liut  his  special  talent  was  for  the  handling  of  throngs  of 
noble  men  and  women.  He  was  not  capable  of  the  ideal- 
ised splendour  of  Palma,  or  the  depth  of  Titian.  This  is 
evident  in  the  graceful  "  Portrait  of  a  Voung  Woman  and 
Child"  (Xo.  1191)).  It  is  the  likeness  of  a  beautiful  wo- 
man whose  thoughts  do  not  go  beyond  her  toilet  and  her 
child,  who  desires  to  please  and  succeeds  in  doing  so. 

The  second  "  Portrait  of  a  Young  Woman"  (Xo.  1'201), 
attributed  to  Veronese,  should,  perhaps,  be  considered  as 
the  work  of  a  pupil  on  account  of  the  yellow  colouring 
and  the  rather  indistinct  features  of  the  face.  Also 
"Christ  Holding  the  Globe  of  the  World"  (Xo.  1^200) 
is  so  lacking  in  expression  that  it,  likewise,  cannot  be  con- 
sidered a  Avork  of  Veronese.  His  "  Jupiter  Hurling  a 
Thunderbolt  at  Crime"  (Xo.  1198),  in  the  Salon  Carre, 
cannot  be  appreciated  in  the  position  in  which  it  is 
found  at  present,  for  it  was  intended  to  decorate  the  ceil- 
ing of  the  Palace  of  the  Doges  and  to  be  seen  from  below. 
In  this  work,  however,  we  discover  an  influence  absolutely 
foreign  to  Veronese,  namely,  the  influence  of  Michael 
Angelo.     The  figures  are  large  and  exaggerated,  and  the 


VENETIAN   SCHOOL  AND   CORREGGIO        199 

positions  are  heavy.  It  is  only  God  the  Father  whom 
Veronese  has  here  represented  in  his  most  dehcate  manner. 
The  same  thing  may  be  said  of  "St.  Mark  Crowning  the 
Theological  Virtues"  (No.  1197).  What  is  admirable 
in  these  two  works  is  the  perfect  perspective,  the  beauti- 


Wi.liil'  ■■ 

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.idiifclfe,                                                                      ^^Sk..^       -   :^\ 

Braun.  Clenu-nt  \:  <Zv:.,  Ph..t. 

1518.     Gaston  de  Foix.  — Savoldo. 


Salle  VI 


ful  and  brilliant  colouring  and  the  elevation  of  Jupiter 
and  St.  Mark  in  the  heavens.  This  effect  Veronese  ob- 
tained by  means  of  clouds  whence  he  makes  figures 
issue,  while,  beyond,  stretches  out  a  deep  blue  sky. 

While,  in  Venice,  Veronese  painted  his  gay  feasts,  and 
Tintoretto  his  great  works  full  of  brilliant  colouring, 
there  were  some  local  schools  in  the  neighbourhood  of 
Venice  the  splendour  of  which,  however,   was    eclipsed 


200  PAINTINGS  OF   THE   LOUVRE 

by  Venice  itself.  In  A'eroiia  Hourislied  Maroni  Girolamo 
dai  Lil)ri  of  wliom  we  have  already  sj)()ken;  at  Bergamo 
were  Previtali  and  Cariani ;  at  IJrescia  (iiovanni  Girola- 
mo Savoldo  (died  after  1548).  The  "  Portrait  of  Gaston 
de  Foix"  (No.  1518),  hy  Savoldo,  is  full  of  beautiful 
(jualities,  and  the  position  of  the  subject  is  strikintij  and 
realistic,  with  character  well  interpreted.  The  colouring 
is  rich  and  beautiful.  The  two  pictures  called  "Por- 
traits of  Saints"  (Nos.  1175  and  1176)  by  Savoldo's  com- 
patriot Bonvicino  (1498-1555),  surnamed  II  Moretto, 
strike  us  by  reason  of  the  beautiful  fresh  tints,  silvery 
tone  of  the  colouring  and  the  clear  treatment  of  the 
faces.  Giovanni  Battista  Moroni  (1525-1578),  a  pupil 
of  Savoldo,  in  the  ''Portrait  of  an  Old  Man"  (No.  1.'305), 
shows  himself  a  portrait  painter  of  remarkable  individu- 
ality. There  is  a  conscious  and  serene  intelligence  in  the 
wrinkled  face,  a  moral  strength  acquired  in  the  course  of 
a  rude  combat  with  life. 

Not  far  from  Verona,  in  the  city  of  Cremona,  a  branch 
of  the  Venetian  school  had  been  founded  by  Boccaccio 
Boccaccino  (1460-1518).  The  works  of  this  ])upil  of 
Giovanni  Bellini  sho%v  the  typical  characteristics  of  the 
transition  from  fifteenth  to  sixteenth  century  art.  "  The 
Holy  Family"  (No.  1168)  exhibits  careful  drawing;  the 
little  faces  show  slight  mannerism,  but  their  expres- 
sions belong  to  a  fully  developed  art,  while  the  parallel 
folds  of  the  drapery  recall  the  past.  Bernardino  Campi 
(1522-1592),  a  member  of  a  family  of  illustrious  painters, 
continued  the  development  of  the  school  of  Cremona, 
and  his  "Mater  Dolorosa"  (No.  1202)  proves  that  this 
local  school  was  not  less  subject  to  the  danger  of  man- 
nerism than  were  the  others. 


VENETIAN   SCHOOL  AND   CORREGGIO       201 

The  sixteenth  century  was  a  notable  period  in  the 
history  of  art.  Ferrara  produced  Cosme  and  Costa  of 
whom  we  have  already  spoken,  and,  at  a  later  period, 
Dossi  and  the  gentle  Benvenuto  Tisi  da  Garofalo  (1481- 
1559).  The  latter's  "Sleeping  Infant  Jesus"  (No.  1553), 
in  Salle  IX,  is  spirited  and  careful  in  execution,  and 
the  expression  of  the  Virgin  reveals  great  tenderness. 
A  gentle  silence  reigns  in  this  charming  little  picture. 

But  if,  to-day,  we  consider  the  productions  of  the 
school  of  Ferrara  equal  to  those  of  Venice  and  Florence, 
it  is  only  because  of  the  works  of  Correggio  (1494-1584). 
He  knew  well  how  to  interpret  the  mysteries  of  beauty 
and  light.  We  already  see  indications  of  his  later 
characteristics  in  the  works  of  his  master,  Francesco 
Bianchi  (1447-1510),  whose  excellent  representation 
of  "The  Virgin  and  Child  with  St.  Quentin  and  St. 
Benedict"  (No.  1167)  might  well  be  considered  a  work 
created  by  Correggio  during  his  youth.  In  this  charm- 
ing picture  the  Mrgin  is  seated  on  a  very  high  throne 
placed  far  in  the  background.  At  her  feet  are  two 
anjrels  with  musical  instruments,  and,  on  either  side, 
stands  a  saint.  The  types  of  the  faces  are  still  those  of 
primitive  art;  the  face  of  the  Virgin  bears  traces  of  the 
Umbrian  manner,  and  the  Infant  Jesus  is  stiff  in  attitude 
and  outline  and  is  quite  in  the  manner  of  Ferrara.  But 
what  is  new-  and  surprising  is  the  golden  light,  which 
floods  the  figures  and  the  landscape.  The  white  tints 
are  placed  purposely  by  the  side  of  contrasting  colours, 
and  the  whole  picture  heralds  the  work  of  Correggio. 

Correggio  was  a  master  in  the  production  of  magic  light. 
He  made  it  radiate  from  a  central  point,  and  his  brush 


202  PAINTINGS   OF  THE   LOUVRE 

was,  as  it  were,  filled  with  the  ardent  rays  of  the  sun. 
He  seized  upon  all  the  secrets  of  flesh  tints  and  fixed 


E.  Hautecceur,  Pilot.  Salle  VI 

1167.     The  Viryln  and  Child.  —  Bianchi. 

them  on  canvas.  In  presence  of  his  figures  of  women 
suffused  with  amber  light,  we  feel  a  mystic  charm,  a 
stirring  of  the  senses.     He  combined  the  delicate  shading 


VENETIAN   SCHOOL  AND   CORREGGIO       203 

of  Lionardo  with  the  colourino;  of  Titian.  He  also  shows 
the  powerful  drawing  of  ^Michael  Angelo  in  his  bold 
foreshortening,  yet  he  always  preserves  his  own  charac- 


E.  Hauteccjeur,  Phot.  Salle  IV 

1117.      The  mystic  marriage  of  St.  Catherine.  —  Corregijio. 

teristics,  for  all  parts  of  his  works  are  organically  bound 
together  and  form  so  many  perfect  unities. 

In  the  "Mystic  Marriage  of  St.  Catherine"  (No.  1117), 
in  the  Salon  Carre,  all  the  light  radiates  from  the  Divine 


204 


rVINTINClS   Ol'   THE   LOUVRE 


Chikl  and  rises  toward  the  faces  of  the  Virgin,  St.  Cath- 
erine and  St.  Sebastian.     Their  countenances  are  so  beau- 


E.  Hautecoeur,  Phot. 


Salun  Carr6 


1118.     The  sleeping  Antiope.  —  CorreggUi. 


tiful  that  "  it  seems,"  says  Vasari,  "  as  if  they  were  from 
Paradise."  With  a  calm  and  serene  expression,  the  Child 
places  the  ring  on  the  finger  of  St.  Catherine,  and  this 


VENETIAN   SCHOOL  AND   CORREGGIO        205 

action  produces  an  exquisite  grouping  of  the  three  hands 
in  close  contact,  while  each  remains  distinct.  The  group- 
ing of  the  persons  is  quite  free  and  natural,  though  re- 
markably varied.  The  Virgin  is  seated  with  the  Child  on 
her  knees,  St.  Catherine  is  kneeling  and,  behind  her 
stands  St.  Sebastian.  All  this  produces  a  very  rich  out- 
line. In  the  background  glitters  and  vibrates  a  landscape 
bathed  in  the  transparent  atmosphere  of  a  Avarm  sun. 
This  work  is,  indeed,  the  union  of  mystic  faith  and  happy 
beauty. 

Correggio  appears  to  greatest  advantage  in  mytho- 
logical subjects.  In  "The  Sleeping  Antiope"  (No. 
1118),  his  brush  becomes  an  enchanted  wand.  In  view 
of  this  magic  spell,  we  lose  sight  of  the  vigour  of  the 
drawing,  the  l:>oldness  of  the  foreshortening,  the  grace  of 
the  outlines  and  the  artistic  grouping  of  the  three  figures. 
A  glowing  warmth  emanates  from  the  body  of  the  woman, 
and  the  colours  seem  borrowed  from  the  sun  itself.  Her 
bosom  appears  to  gently  rise  and  fall  under  the  effort  of 
breathing,  and  there  is  all  the  appearance  of  sleep  in 
the  limbs,  in  the  head  thrown  back,  in  the  raised  arm  and 
in  the  half-opened  hand.  One  feels,  rather  than  sees,  the 
rich  undulations  of  the  golden  hair.  Behind  Antiope 
appears  Jupiter  in  the  form  of  a  faun.  The  spirit  of 
Greece  animates  this  picture,  and  it  is  antiquity  ignorant 
of  sin  which  lives  again  in  this  work.  Strange  to  say, 
this  great  master  was  unappreciated  in  his  time  and  died 
poor  and  unhappy.  When  the  following  generation  at- 
tempted to  imitate  him,  his  mystic  light  became  arti- 
ficial and  the  attitudes  affected. 


DEC  TJXE  OF  THE  ITALIAN  RENAISSANCE 

A  l"rER  Corrcfij^io.  witli  a  few  notable  exceptions,  that 
■*■  ^  noble  art  in  Italy  wliich  had  its  first  beginniniijs  with 
Cimabue  faded  into  utter  insignificance  at  the  end  of  the 
sixteenth  century. 

Francesco  Mazzola,  called  II  Parniigianino  (1.504-1.540), 
was  born  in  Palma.  His  early  pictures  show  a  careful 
study  of  Correggio's  works,  but  afterwards,  in  Rome,  his 
manner  was  profoundly  affected  by  the  great  masters 
he  studied  there,  especially  Raphael.  Of  his  two  "Holy 
Families,"  the  one  (No.  1.S8.5)  is  the  development  of 
an  idea  of  Raphael  (see  Raphael's  "Holy  Family"); 
the  other  (No.  138G)  shows  decided  mannerism.  The 
pose  of  the  Virgin's  head  is  exaggerated,  the  necks  are 
too  long,  the  })ink  of  the  faces  has  become  yellow,  there  is 
no  life  in  the  body  of  the  woman  in  adoration,  and  there 
is  a  glaring  red  on  the  face  of  the  angel.  Federigo  Barocci 
(1528-1602)  is  still  more  unpleasant.  His  large  picture, 
"The  Circumcision"  (No.  1149)  is  so  confused  in  compo- 
sition that  it  is  impossible  to  understand  the  subject.  A 
vain  attempt  to  imitate  the  colouring  of  Correggio  gives 
green  and  blue  shades  to  the  faces,  and  the  red  of  the  gar- 
ments produces  the  hard  effect  of  painted  porcelain.  In 
"The  Virgin  in  Glory  with  St.  Lucia  and  St.  Anthony" 
(No.  1150),  in  the  Salon  Carre,  elements  of  Raphael, 
Titian,  and  Correggio  are  to  be  found,  but  the  exaggerated 
ecstasy  and  the  studied  effects  do  not  appeal  to  us. 
206 


DECLINE  OF   ITALIAN   RENAISSANCE        207 

None  of  the  imitators  of  Correggio  could   reproduce  Lis 
mysterious  charm. 


1    -.*^*^     :•«!   "1 

.^mA:Jt 

^S^i^f  1 

n^ 

Ryw^ 

pwi           "^                   '1^^^^^ 

If^Rj^ 

iMtffcCf  ^-1^.          .  V  '    .                                          ^^^■^Ifcv.^^^Bi 

MittMiini 

Braun.  Clement  t!v  Ci..,  I'l 


Salle  VI 


1149.      The  Circumcision.  —  Barocci. 


And  so  the  great  art  of  Italy  began  to  perish.  Michael 
Angelo  had  bewildered  and  stunned  his  contemporaries 
and  successors.     Those  who  now  came  were  but  man- 


2()» 


PAINTINGS   OF  THE   LOUVRE 


ticrists  and  only  imitalrd  over  and    over  again  the  sanu" 
effects.     The  taste    for   theatrical    action    and    exagger 


IB^ i^f^'  «!^H 

5^^^^,*^=^(j>v  ■  ■ 

^^■**^^C 

E.  Haiitcc.i  ur,  i'h.-t.  Saluii  Carre 

1150.      The  Virgin  in  glory.  —  Barocci. 


ated  pathos  prevailed  everywhere.  The  ideas  of  the 
world  had  also  changed,  and  to  the  storm  of  the  Refor- 
mation  succeeded  the  Counter-Reformation.     The  sim- 


DECLINE   OF   ITALIAN    RENAISSANCE       209 

plicity  of  the  old  masters  could  no  longer  be  appreci- 
ated. Extravagant  ecstasy,  hideous  pain,  supernatural 
rapture  and  daring  colour  alone  appealed  to  the  masses. 

The  picture  by  Cesari  (loGO-lG^O),  called  "Diana  and 
Actaeon"  (No.  1257),  in  Salle  IX,  is  no  more  than  a 
caricature.  Diana  is  an  exaggerated  repetition  of  the 
Eve  of  ^Michael  Angelo.  Actaeon,  in  a  fury,  seems  to  wish 
to  destroy  everjihing  about  him. 

INIannerism  having  become  unbearable,  eclecticism^* 
took  its  place,  and  this  was  an  improvement.  Ludovico, 
Agostino,  and  Annibale  Carracci  formed  an  associa- 
tion and  founded  the  first  academy  of  painting,  called 
the  Academia  dei  Incamminati,  whose  main  object  Avas 
the  study  of  the  art  of  the  sixteenth  century,  and  the 
practice  of  drawing  from  models  in  plaster,  from  life,  or 
from  still  life.  Courses  in  the  theory  of  art  and  the  study 
of  nature  completed  the  instruction  of  this  system,  which, 
in  its  essential  features,  has  been  continued  by  academies 
up  to  the  present  day,  and  which  we  venture  to  think  is 
detrimental  to  originality. 

The  three  Carracci  themselves  were  men  of  considerable 
talent,  and  the  best  work  of  their  school  was  what  they 
themselves  did.  They  made  up  a  remarkably  complete 
whole.  Ludovico  found  the  subject,  Agostino  arranged 
the  compositions,  and  Annibale  did  the  painting. 

The  best  of  their  combined  works  are  to  be  found  in 
Rome  and  Bologna.  Those  which  show  Annibale's  (1560- 
1609)  own  peculiar  individuality  are  quite  captivating.  He 
combined  various  artistic  elements  with  realism  in  such  a 
manner  that  he  produced  something  apparently  new.  His 
"Virgin  Appearing  to  St.  Luke  and  St.  Catherine"  (No. 


210 


PAINTINGS   OF   THE   LOUVRE 


1219),  in  the  Salon  Carre,  w  as  inspired  by  Correggio.   The 
Virgin,  with  the  Child  in  her  arms,  is  enthroned  on  clouds 


E.  Hauteccxur,  hhot.  Salon  Carr^ 

1221.     The  dead  Christ  on  the  knees  of  the  Virgin.  — Annibale  Carracd. 


and  is  surrounded  by  angels  and  saints.  Her  features  are 
borrowed  from  Correggio's  women,  and,  in  accordance  with 
Annibale's  treatment,  all  the  light  emanates  from  the  Child. 


Df:CLINE   OF    ITALIAN    RENAISSANCE       211 

The  angels  are  in  the  manner  of  Raphael.  In  the  lower 
part  we  see  St.  Luke  with  his  eyes  raised  in  ecstasy,  in 
contrast  to  those  of  St,  Catherine  who  looks  down  and, 
at  the  same  time,  points  to  heaven.  The  construction  is 
strictly  pyramidal,  an  outcome  of  the  Florentine  teaching. 
"  The  Dead  Christ  on  the  Knees  of  the  Virgin  "  (No.  1221) 
shows  the  influence  of  Michael  Angelo,  particularly  in 


v*^^^! 

^^^H 

^H^ 

Q& 

/^ 

■  Ml^^^^ 

b> 

^^ 

E.  Hautc^M-L;r.  I'h'A.  Salle  IX 

1218.      The  sleeping  Infant  Jesus.  — Annibale  Canacci. 


the  body  of  the  Saviour.  Though  the  action  is  full  of 
mannerism,  as  may  be  seen  in  St.  Francis,  and  is  conven- 
tional, as  in  the  Virgin  and  Mary  Magdalene,  the  faces 
are  full  of  expression.  The  treatment  of  the  nude  shows 
careful  study,  and  the  arrangement  of  the  numerous 
bowed  figures  reveals  artistic  feeling.  "The  Virgin  of 
the  Cherries"  (So.  1217)  is  absolutely  empty  and  without 
expression.  AVe  are  quite  unable  to  understand  the  popu- 
larity of  the  little  picture,  "  The  Sleeping  Infant  Jesus," 
in  Salle  IX,  or  "The  Silence  of  Carracci"  (So.  1218). 


212 


PAINTINGS   OF   THE   LOUVRE 


The  Virgin,  with  her  raised  finger,  makes  a  sign  to  St. 
John  not  to  touch  the  sleeping  Infant  Jesus.  The  face  of 
the  Child  is  out  of  drawing,  and  the  expressions  are  poor. 
Nevertheless,  Annibale  Carracci  acquired  a  lasting  and 
well-earned  reputation  as  the  father  of  Italian  landscape 
painting.  He,  however,  did  not  place  himself  frankly  be- 
fore nature  herself,  but  only  painted  parts  of  what  he  saw. 


•*  .>v'^.  ^t; 

w^ 

m  '^  ** 

♦  ■■           *« 

?i^»W^^'W^^-— "MM^ 

t-^-                     4 

,J^-^iji*^"-'^ 

&MitaniitgaliAgLlBSi 

>,' 

^fH^-^-^^'   ■       . 

u^  -     t    -  '^  -.30 

Jlf^              s»  J^-                     ■      ' 

K             4    ".                -^ 

'-^ppiyji 

^  "^ 

'  '^-^^-^  ^m 

E.  HautecuuLir,  Phot, 


Salle  VI 


1233.      The  hunt.  —  Annihale  Carracci. 


modified  according  to  a  certain  formula.  He  composed 
his  landscape,  grouped  some  isolated  elements  connected 
with  the  subject  and  then  skilfully  placed  his  figures.  An 
instance  of  this  we  see  in  his  picture  called  "  The  Hunt " 
(No.  1233)  in  the  Long  Gallery.  Here  we  see  two  char- 
acteristic and  lifelike  figures  on  horseback  coming  into 
sight  out  of  a  hollow  way,  and  similar  qualities  are  to  be 
found  in  his  other  picture,  "The  Fishing"  (No.  1232). 
The  nephew  of  Annibale,  Antonio  (1583-1618),  also 
folowed  the  traditions  of  the  Academy.     "  The  Deluge " 


DECLINE  OF   ITALIAN   RENAISSANCE        213 

(No.  1235)  with  its  elongated,  contorted  nude  figures,  is 
a  variation  of  the  same  subject  by  Michael  Angelo.  The 
man  climbing  on  the  left  is  borrowed  from  Michael 
Angelo's  famous  cartoon  the  "Soldiers  Bathing."  In 
view  of  this  fidelity  to  its  methods,  we  can  well  under- 
stand that  the  Academy  deplored  his  death  as  an  irrep- 
arable loss.     This  feeling  we  cannot  share,  for  a  purely 


E.  Hautecoeur,  Phot. 


Salle  VI 


1232.      The  fishing.  — Annibale  Carracci. 


technical  element  prevents  us  from  appreciating  the 
works  of  this  period.  The  preparation  of  red  ochre 
makes  all  the  dark  tints  black  and  likewise  renders  the 
light  tints  hard  and  glaring. 

Guido  Reni  (1575-1642)  is,  to-day,  the  best  known  of 
the  masters  of  the  school  of  Bologna.  This  celebrity  he 
owes  to  the  two  half-length  pictures  called  "  The  Penitent 
Mary  Magdalene"  (No.  1448),  in  Salle  IX,  and  "Ecce 
Homo"  (No.  1447),  also  in  Salle  IX.  Vulgarised  by 
innumerable  chromo-lithographs,  they  continue  to  poison 


214 


PAINTINGS  OF  THE   LOUVRE 


taste  and  kill  appreciation  for  the  really  beautiful.  He 
himself  painted  some  dozen  replicas  of  them  in  order  to 
make  sufficient  money  to  satisfy  his  passion  for  play. 
The  mawkish  expression  of  exaggerated  repentance  on 
the  face  of  St.  Mary  ^Magdalene  and  the  effeminate  Christ, 


E.  Haiitecixur,  Plmt. 


Salle  IX 


1448.     The  penitent  Mary  Magdalene.  —  Guido  Rem. 


both  with  the  uplifted  eyes  then  in  vogue,  made  them 
easily  saleable.  The  masses  took,  and  still  take,  the 
worst  kind  of  affectation  for  the  expression  of  deep  feeling. 
And  yet  Guido  Reni  was  an  artist  of  real  talent,  gifted 
with  rich  imagination,  an  unusual  facility  for  work  and 
great  firmness  of  touch.     The  pictures  representing  the 


DECLINE   OF   ITALIAN   RENAISSANCE        215 

legend  of  "Hercules  and  Achelaus"  (No.   1455),  "Her- 
cules and  the  Serpent"  (No.  1457),  and  "Hercules  on  the 


^S^I^^B    '~ 

11 

J 

1 

■V       , 

M 

^ 

^      ^J^^^ 

^-^ 

'  m 

f^' 

< 

^ 

w 

%f^ 

r 

0^ 

/ 

E.  Hautecoeur,  Phot.  Salon  CarrtS 

1454.      The  )  ape  of  Dejanira.  —  Guido  Reni. 

Funeral  Pile"  (No.  1453),  all  in  the  Salon  Carre,  are 
unfortunately  particularly  noticeable  for  passionate  ges- 
tures, limbs  outstretched,  eyes  raised  to  heaven,  swollen 
muscles  and  distorted  features. 


210  PAINTINGS  OF  THE   LOUVRE 

The  "  Rape  of  Dejanira  by  the  Centaur  Nessus "  (No. 
1454),  in  the  Salon  Carre,  shows  us  Guido  Reni  in  a 
better  manner.  The  movement  of  the  body  of  the  Centaur 
is  free  and  hght,  antl  there  is  also  freedom  of  treatment  in 
the  outline  of  the  flowing  robes.  The  motion  toward  the 
left  is  well  carried  out,  notwithstanding  the  movement  of 
Dejanira  who  turns  affectedly  on  the  back  of  the  horse 
like  a  circus  rider. 

At  times  Guido  Reni  was  subject  to  the  influence  of  his 
illustrious  contemporary,  Caravaggio,  the  powerful  natu- 
ralist painter.  This  influence  is  noticeable  in  the  "St. 
Sebastian"  (No.  1450),  Avhere  there  are  crude  lights  on 
the  nude  torso  of  the  figure,  which  distinctly  luring  out 
the  muscles  and  bones,  while  deep  shadows  play  on  the 
neck  and  chest.  The  face  however  has  again  that  affected 
sweetness  and  the  same  uplifted  eyes.  Guido  Reni  could 
never  free  liimself  from  this  convention,  and  David  in 
the  "David  with  the  Head  of  Goliath"  (No.  1439)  is 
likewise  posed  after  an  entirely  conventional  method. 

Domenico  Zampieri,  surnamed  II  Dominichino  (1581- 
1641),  was  also  a  pupil  of  the  Carracci.  At  the  end  of  the 
eighteenth  and  the  beginning  of  the  nineteenth  centuries, 
he  was  considered  a  demi-god  of  art  in  Europe,  as  the 
novels  of  the  time  bear  witness.  He  is  not  so  affected  as 
Guido  Reni  and  is,  therefore,  more  pleasing.  His  "St. 
Cecilia"  (No.  1613),  notwithstanding  the  uplifted  eyes, 
has  a  certain  fervour  which  makes  us  overlook  the  expres- 
sionless face. 

Though  a  friend  of  Dominichino,  Francesco  Albani 
(1578-1660)  leaned  rather  to  the  vapid  manner  of  Guido 
Reni    who    persecuted  him,  owing    to  artistic    jealousy. 


DECLINE   OF   ITALIAN   RENAISSANCE        217 

Albani  painted  small  angels  and  cupids.     His  power  does 
not  go  much  farther  than  this,  and,  from  his  paintings, 


■ 

H 

1 

H 

^^^^^^ 

H 

^^^^1 

H| 

1 

r^'^H 

^^ 

Ir'f 

/< 

r    ^1 

1 

^^^^^B^^ 
^^^^^^B^ 

■      f 

,  i^t  j 

|] 

^) 

1 

B 

^^ 

B 

^ 

E.  Hautecceur.  Phot.  Salle  VI 

iei5.      <Sfaiw<  Cecilia.  —  Dominichino. 

we  see  how  happy  and  prosperous  his  life  must  have 
been.  In  spite  of  his  insignificance,  however,  he  does  him- 
seK  credit  in  painting  little  angels.     When,  on  the  other 


218 


PAINTINGS   OF   THK    LOUVRE 


liand,  he  attempted  small  pictures  containing  many  figures, 
like  "Diana  and  Acteon"  (No.  1111),  in  Salle  IX,  Albani 


Braun.  Clement  &  Cie.,  Phot.  Salon  CarrS 

1143.     The  protectiyig  saints  of  the  city  of  Modenn.  — -  Guerrhino. 


became  weak  and  Avas  influenced  by  the  old  school,  as  may 
be  seen  in  the  bowed  figure  holding  a  cloak,  in  the  fore- 
ground. 


DECLINE   OF    ITALIAN   RENAISSANCE       219 

What  is  really  unbearable  to  our  modern  eyes  is  the 
work  of  a  later  follower  of  Carracci's  school,  Francesco 
Barbieri  (1590-1666),  called  II  Guerchino.  The  figures  in 
his  picture  called  "St.  Benedict  and  St.  Francis  of  Assisi" 
(So.  1142)  are  ridiculously  large;  they  are  twisted  and  dis- 
torted in  painful  attitudes  and  make  grimaces  to  express 


Braun.  Clement  &  Cie..  Phot.  Salon  Carr6 

1538.     A  Concert.  —  Spndn. 


rapture  and  ecstasy.  "  The  Resurrection  of  Lazarus  "  (No. 
1139)  is  an  accumulation  of  contorted  figures  and  limbs  in 
a  crude  light,  elements  due  to  the  influence  of  Caravaggio. 
The  Saviour  has  the  look  of  an  orator,  and  there  is  no  trace 
of  real  feeling  in  the  picture.  In  "  The  Protecting  Saints  of 
the  City  of  Modena"  (No.  1143),  in  the  Salon  Carre,  we 
recognise  elements  borrowed  from  Correggio  and  Raphael, 
but  the  composition  is  overloaded,  and  the  gestures  are 
theatrical.     Again,  Guerchino  gives  us  another  tame  and 


220  PAINTINGS   OK   THE   LOUVRE 

confusedly  coloured  picture  in  his  "Circe"  (No.  1147), 
As  a  rule,  however,  he  preferred  heavy,  dark  colours  and 
black  shadows. 

If  Lionello  Spada  (lo70-10'-2'-2),  another  pupil  of  Car- 
racci,  was  not  spoilt  by  the  dangerous  influence  of  the 
Academy,  he  owes  it  to  Caravaggio.  The  "  Concert " 
(No.  1538)  has  some  beautiful  and  realistic  characteristics, 
and  the  strong  light  which  bathes  the  picture  is  effective. 

Of  the  second  generation  of  the  school  of  Carracci,  the 
colourless  and  insipid  Simone  Cantarini  (1612-1648),  with 
his  two  "Holy  Families"  (Nos.  1207  and  1208),  in  Salle 
IX,  scarcely  deserves  mention.  The  same  applies  to 
Andrea  Donducci  (1575-1655),  his  senior  by  many  years, 
author  of  "  Christ  and  the  Virgin  Appearing  to  St.  Fran- 
cis" (No.  1271),  in  Salle  IX,  and  to  the  landscape  painter, 
Grimaldi  (1606-1680),  author  of  the  picture  called  "The 
Washerwomen"  (No.   1327). 

The  great  success  of  the  Bologna  academy  led  to  the 
foundation  of  a  Roman  school  based  on  the  same  princi- 
ples. Its  most  important  representative  is  Carlo  Maratta 
(1625-1713),  whose  manner  is  empty  and  superficial, 
making  him  dangerous  even  as  a  restorer  of  the  frescoes 
of  Raphael.  Nevertheless,  his  portraits  are  lifelike,  as, 
for  instance,  the  beautiful  likeness  of  "Mary  Magdalene 
Rospigliosi"  (No.  1379),  in  Salle  IX,  and  his  portrait  of 
himself  (No.  1380)  m  Salle  XV. 

Giuseppe  Maria  Crespi  (1665-1747)  is  a  representative 
of  the  later  academy  of  Bologna.  He  lacks  a  knowledge 
of  drawing,  paints  shadows  in  uniform  brown  tones  and 
is  influenced  by  the  realistic  manner  of  Caravaggio  in  his 
picture  called  "A  School"  (No.  1266)  in  Salle  IX. 


DECLINE  OF   ITALIAN   RENAISSANCE       221 

Giovanni  Battista  Salvi  (1605-1085),  called  II  Sassofer- 
rato,  painted  "The  Holy  Family"  (No.  1493)  in  Salle  IX. 
It  is  a  copy  of  a  picture  by  Raphael  in  the  National 
Gallery  in  London.     It  is  here  that  we  can  best  see  the 


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1379.     Mary  Magdalene  Rospigliosi.  —  Maratia. 


artificial  mannerism  into  which  art  had  fallen.  The  great 
art  of  the  sixteenth  century  was  dead,  and  it  was  in  vain 
that  the  eclectics  and  mannerists  endeavoured  to  breathe 
a  semblance  of  life  into  it.  They  attempted,  by  every 
artifice,  to  depict  expressions  of  rapture  and  ecstasy,  but 
all  this  became  vapid  sentimentality,  and  this  display  of 


222  I'AINTIXGS    OK   THK    LOUVUK 

violent  gesture,  affected  trcatiiieiit  of  li<,Mit,  and  these 
anatomical  tricks,  leave  us  unmoved,  because  of  their 
total  lack  of  truth. 

From  all  these  imitators,  often  so  pitial)le,  we  must 
distinL'uish  the  excellence  of  Michael  Angelo  Ameri<:lii 
de  Caravaggio  (15G9-1()0()).  We  do  not  know  who  his 
master  was,  but  his  powerful  individuality  seemed  only  to 
recognise  one  inspiration,  Nature  herself,  and  her  he  knew 
how  to  interpret  on  canvas  with  consummate  mastery. 
In  his  life,  as  in  his  art,  he  was  bold  and  uncompromising, 
and  this  temperament  led  to  an  existence  full  of  change 
and  adventure.  Rome,  Naples,  Malta,  and  Sicily  were 
the  fields  of  his  activity.  When  he  had  completed  "  The 
Death  of  the  Virgin"  (No.  1121)  for  the  Church  of  the 
Scala  in  Trastevere,  the  monks  refused  to  receive  the  work, 
asserting  that  it  was  unworthy  of  the  sanctuary.  Yet  it 
was  a  most  striking  representation  of  the  subject  and  is  a 
revelation  of  genius  in  painting.  The  Virgin  is  extended 
on  a  couch  and  is  covered  with  a  red  garment.  The  agony 
of  death  has  caused  the  body  to  be  rigidly  outstretched, 
The  lifeless  hand  drops  heavily  from  the  wrist.  A  bright, 
wide  ray  of  tawny  light  suffuses  the  calm,  dead  face  and 
causes  black  shadows  to  play  upon  it,  making  it  the 
central  point  of  the  composition;  and  this  same  ray  of 
light  binds  together  the  surrounding  group.  There  is 
nothing  artificial  here.  Every  face  and  every  attitude 
bears  the  expression  of  individual  grief  because  each  fig- 
ure is  differently  treated.  In  the  foreground  a  woman 
is  overcome  by  grief,  and  her  tears  fall  on  the  white 
cloth  in  her  hand.  One  Apostle,  bowed  with  age  and 
sorrow,    can   no    longer    restrain    his    tears   and   covers 


DECLINE   OF   ITALIAN   RENAISSANCE       223 

his  eyes  with  his  hand.     A  second  one,  on  his  knees,  tries 
to  master  his  sobs  by  holding  his  hands  before  his  mouth. 


Salle  VI 


E.  Hautecoeur,  Phot. 

1121.     Death  of  the  Virgin.  —  Caravaggio. 

And  so  every  head,  even  those  in  shadow,  is  a  type;  the 
Apostles  are  labourers,  of  the  people.  Grief  has  rarely 
been  depicted  with  so  much  truth  and  in  so  touching  a 


221. 


PAINTINGS   OF   THE  LOUVRE 


manner.     It  is  bitter  reality  which  Caravaggio  has  placed 
here  before  our  eyes. 

Possessed  of  so  much  artistic  truth,  Caravaggio  was 
destined  to  be  a  painter  of  the  customs  of  his  time,  as  may 
be  seen  in  "A  Concert"  (No.  1123)  representing  a  group 
of  nine  realistic  figures.  They  stand  before  us  in  a  scheme 
of  light  which   varies  from   dazzling  brilliancy  to  deep 


Braun,  Clement  A:  Lie.,  Pli..t.  Salle  V'l 

1123.      A  Concert.  —  Caravaggio. 


shadow.  The  figures  are  not  posing,  and  each  one  is 
rendering  his  part  in  his  own  way.  In  the  foreground, 
two  of  the  performers,  in  full  light,  are  deeply  absorbed  in 
their  occupation.  Their  rapt  eyes  gaze  into  the  distance, 
but  see  nothing. 

When  Caravaggio  represents  a  "Woman  Fortune  Tell- 
er" (No.  1122)  reading  the  hand  of  a  young  soldier,  he 
shows  us  by  the  look  exchanged  betw^een  the  young  man 
and  young  woman  that  they  are  thinking  of  a  mutual 
happiness.     To  this  power  of  representing  character  is 


DECLINE   OF   ITALIAN   RENAISSANCE       225 

united  a  wonderful  mastery  of  the  brush.  Everything 
is  thrown  on  the  canvas  in  a  broad,  vigorous  and  confident 
manner.  The  colouring,  particularly  in  the  last  picture, 
shows  that  some  of  the  gold  of  the  Venetian  painters  had 
survived  in  Caravaggio's  art. 


E.  HautCLtur,  IMiut. 

1122.     A  woman  fortune-teller.  —  Cunwaggio. 


Salle  VI 


One  well  understands  why  the  Grand  Master  of  Malta 
made  him  Chevalier  as  a  reward  for  his  having  painted 
his  portrait  (No.  1124).  In  it  we  see  a  proud  and 
self-possessed  man  solidly  set  on  his  feet,  his  hand  gloved 
in  iron  and  energetically  seizing  the  staff  of  command. 
Round  the  mouth  plays  an  expression  indicating  intense 
vitality,  and,  in  his  mien,  we  read  a  will  of  iron.     There 


226 


PAINTINGS   OF   THE    LOUVRE 


Braun.  Clement  &  Cie..  Phot.  Salle  VI 

llZIf.     Alof  of  Wignacourt,  Grand  Master  of  Malta.  — Caravaggio- 


was  a  temperament  here  resembling  Caravaggio's  own, 
and,  for  this  reason,  he  was  able  to  interpret  it  so  truth- 
fully. 

At  this  period  of  mannerism  and  artistic  feebleness,  a 
temperament  like  that  of  Caravaggio  could  not  form  a 


DECLINE   OF   ITALIAN   RENAISSANCE       227 

school.  His  real  successor  is  the  Spaniard,  Hibera,  who 
eclipsed  all  the  others.  Manfredi  (1580-1G17)  only  suc- 
ceeded in  imitating  gestures  from  Caravaggio,  as  is  shown 
in  another  "Woman  Fortune  Teller"  (No.  1368).  He 
also  borrowed  Caravaggio's  external  play  of  light  and  a 
little  of  his  construction,  but  not  his  peculiar  insight 
and  his  power  of  portraying  character.  The  tempera- 
ment most  resembling  Caravaggio's  is  that  of  Salvator 
Rosa  (1615-1673).  He  painted  romantic  and  wild  scenes 
of  which  one  is  "A  Landscape"  (No.  1480).  In  this  we 
see  the  creations  of  a  gloomy  imagination.  We  hear 
the  tempest  moan  in  the  ravines  and  see  the  trees  bend 
under  the  violence  of  the  wind.  In  the  obscurity  we 
catch  sight  of  some  brigands,  patches  of  light,  the  fire 
of  a  carbine  and  the  flash  of  harness.  Again,  he  painted 
"A  Battle"  (No.  1479)  in  a  plain  surrounded  with  moun- 
tains and  brought  together  a  multitude  of  men  and 
horses  before  the  ruins  of  an  antique  temple  in  the 
midst  of  clouds  of  the  smoke  of  powder;  and,  notwith- 
standing all  these  details,  the  sureness  of  his  touch  makes 
the  whole  scene  clear. 

When  Salvator  painted  a  subject  picture  like  "The 
Apparition  of  Samuel's  Ghost  to  Saul"  (No.  1478)  his 
imagination  delighted  in  the  representation  of  witches 
and  skeletons.  A  pale  light  emanates  from  the  phan- 
tom's white  clothes  and  plays  on  the  armour  of  Saul. 
Saul  prostrates  himself,  before  the  apparition,  and,  not- 
withstanding his  attitude  of  humility,  he  remains  a  king 
in  dignity,  a  happy  contrast  to  his  companions,  who  re- 
coil with  terror  in  the  background. 

The  influence  of  Caravaggio  is  also  apparent  in  Do- 


228 


I'AIN  riN'GS   OF  THE   LOl'VRE 


nicnico  Fcti  (1589-1G24).  The  allegory  called  "  Melan- 
choly" (No.  1*288)  represents  a  woman  on  her  knees 
conteinplatin<^  a  sknll.  She  has  the  type  of  Carava<f<:;io's 
round-faced  women,  and  a  certain  freshness  of  colouring. 
Elsewhere  Feti  united  the  most  dissimilar  elements  in  the 


E.  Hautccuuur,  Pli'.-t. 


Salle  VI 


1479.      A  hattle.  —  Snivalor  E(j.iu. 


same  composition,  as  in  the  "  Guardian  Angel "  (No.  1289), 
where  there  is  a  figure  after  the  manner  of  Michael  Angelo, 
though  exaggerated,  and  a  vapid  head  w^ith  outstretched 
neck.  His  "Nero"  (No.  128G)  has  swollen  muscles  and 
outstretched  arms  which  seem  to  issue  from  the  picture 
and  menace  us  in  a  brutal  manner. 

Michaelangelo  Cerquozzi  (1602-1660)  had  the  same 
characteristics.  He  was  principally  a  painter  of  battles 
and  was  surnamed  the  ISIichael  Angelo  of  Battles.  The 
two  still-life  pictures  of  fruit  (No,    1254  and  No.  1255), 


DECLINE   OF   ITALIAN   RENAISSANCE       229 

in  the  La  Caze  Gallery,  do    not    represent    him  at  his 
best. 

Luca  Giordano  (IG32-1705)  acquired  the  doubtful  repu- 
tation of  being,  par  excellence,  a  quick  worker  and,  for  this 
reason,  was  called  Fapresto  (do  (juickly).  He  was  a  pupil 
of  Ribera  and,  at  times,  his  imitator.      His  pictures  may 


E    Haute.  LL.,'    I' 


lUc  I 


liiULi.     Dance  oj  the  Cupids  —  Giordano. 


be  counted  by  hundreds.  He  devoted  twenty-four  hours 
to  painting  "The  Death  of  Seneca"  (No.  1311)  and  two 
days  to  the  execution  of  other  large  compositions.  Most 
of  his  work  leaves  us  indifferent,  as  "Tarquin  and 
Lucretia"  (No.  1310)  which  is  superficial  and  empty, 
as  are,  indeed,  all  his  works.  Sometimes,  accidentally, 
he  succeeds  in  producing  a  pleasing  picture  like  his 
"Dance  of  the  Cupids"  (No.  1306),  and  one  cannot  help 
admiring  the  richness  of  his  imagination,  his  excellent 
decoration   and  his  skill   in   drawing.     All  his   pictures, 


2.S0  r.MXTINGS    OF    THK   LOUVRE 

except  "Mars  and  \  (mius"  (No.  1S05),  in  Salic  IX,  arc  in 
the  La  Caze  Gallery.  "The  Dance  of  the  Cupids"  is 
one  of  his  best  pictures. 

With  the  approach  of  the  seventeenth  century  comes  an 
empty  period  in  Italian  art.     Florence  even  was  no  excep- 


E.  Hautecueur.  Phut. 

1483.      The  triumph  of  David.  —  Matieo  RoselH. 


Salle  IX 


tion.  Ludovico  Cardi  (1559-1613),  surnamed  Cigoli,  tried 
to  substitute  eclecticism  for  the  prevailing  mannerism. 
His  "Flight  into  Egypt"  (No.  1209),  in  Salle  IX,  with  its 
beautiful  landscape  and  strong  colouring,  is  more  agree- 
able than  other  conteiuporary  productions,  for  he  had  not 
studied  Correggio  and  Paul  A'eronese  in  vain.  INIatteo 
Roselli  (1578-1650)  shows  himself  a  complete  eclectic  in 


DECLINE   OF   ITALIAN   RENAISSANCE        231 

"  The  Triumph  of  David  "  (No.  1483).  There  is  a  replica 
of  the  picture  in  the  Pitti  Palace  in  Florence.  He  had 
an  appreciation  of  beauty  and  of  nature. 

With    Pietro   Berrettini    da    Cortona    (1596-1GG9)    we 


E.  Hautecceur,  Phot. 


Salle  VI 


1409,     A  concert  in  Rome.  — Panini. 


reach  "the  most  empty  and  unbearable  formalism."  In 
"The  Virgin  and  Child"  (No.  1163)  both  the  Virgin  and 
Child  have  the  heads  of  dolls  with  insipid  smiles  and 
attitudes  full  of  that  affected  mannerism  which  was  so 
long  the  delight  of  Europe.  RomanelU  (1610-1662)  intro- 
duced   this    unpleasing    manner  into    France,     ""\enus 


23t2  PAINTINGS   OF  THE   LOUVRE 

and  Adonis"  (No.  1476),  in  the  La  Caze  Gallery,  is  a 
poor  work  without  expression  and  scarcely  deserves  men- 
tion. 

The  eclectics  of  Genoa  are  best  represented  by  Valerio 
Castelli  (1625-1059).  His  "Smiting  of  the  Rock  by 
Moses  "  (No.  1249),  in  the  La  Caze  Gallery,  shows  a  certain 


E.  MaiiteL(i?ur,  Ph-it. 


Salle  VI 


140s.      The  interior  of  Sf.  Pffers.  — Panini. 


understanding  of  grouping  and  colour  and  a  sufficiently 
advanced  study  of  the  effects  of  light.  Benedetto  Casti- 
glione  (1616-1670),  like  Ponte  da  Bassano,  painted  biblical 
scenes,  such  as  "Melchisedec  and  Abraham"  (No.  1250) 
and  "The  Expulsion  of  the  Money  Changers  from  the 
Temple"  (No.  1251),  merely  as  a  pretext  for  introducing 
some  charming  animal  painting,  for  the  faces  are  without 
expression  and  the  landscape  is  purely  decorative.     Thus 


DECLINE   OF   ITALIAN   RENAISSANCE 


233 


CastigHone  is  principally  attractive  in  such  pictures  as  his 
"Animals  and  Utensils"  (No.  1252),  in  which  he  develops 
some  fine  qualities  as  a  colourist.  All  his  pictures  are  to 
be  found  in  Salle  IX.  The  characteristic  of  all  this  period 
of  art  in  Italy  is  the  lack  of  delicacy  of  feeling.  In  order 
to  make  an  effect,  the  artists  exaggerated  the  action  and 


E.  Hautectrur,  Phut.  '~all     VI 

157 4-      Venus  and  Cupid.  — Varoiari. 


expression,  hardened  the  light  and  dulled  the  colours.  It 
was  a  purely  superficial  and  decorative  side  of  painting 
which  was  introduced  in  order  to  attract  attention,  and 
this  explains  why  pictures  with  theatrical  decorations 
were  produced.  The  best  exponent  of  this  tendency  is 
Giovanni  Paolo  Panini  (1691-1764),  but  we  must  not 
judge  him  by  modern  standards.  The  "  Concert  in  Rome  " 
(No.  1409)  is  a  picture  painted  for  effect,  a  work  of  gala 
representation.  The  absolute  correctness  of  the  perspec- 
tive is  beyond  reproach.  We  admire  the  skill  of  the 
drawing  in  the  "Interior  of  St.  Peter's  at  Rome"  (No. 


234 


PAINIINC.S   or   THK   LOUVR?: 


1408).  Panini  also  attempted  to  {^ive  life  to  enormous 
surface  by  means  of  skilfully  scattered  groups,  or  by  the 
play  of  light  which  came  from  without.  His  two  pic- 
tures called  "  Ruins"  (Xos.  UU  and  U12)  are  skilfully 
executed,  but  quite  devoid  of  interest.  These  are  in  the 
La  Caze  Gallery. 

Venice,  though  still  under  the  influence  of  Titian,  Vero- 


E.  Hautciuur   I'lvt. 


Salle  VI 


1203.     Church  of  the  Madonna  della  Salute.  —  Canaletio. 

nese,  and  Correggio,  produced  a  number  of  decadent 
artists  in  the  seventeenth  and  eighteenth  centuries.  The 
first  is  Alessandro  Turchi  (1582-1648),  called  II  Orbetto. 
In  "  The  Death  of  Cleopatra"  (No.  1560),  in  Salle  IX,  and 
in  "Samson  and  Delilah"  (No.  1558),  in  the  Long  Gallery, 
the  languorous  attitudes  of  the  figures  show  the  influence 
of  his  illustrious  compatriot,  Paul  Veronese  The  work  is 
skilful  as  to  grouping  and  careful  in  execution,  but  a 
little  too  much  finished  and  artificial  in  expression. 


DECLINE   OF    ITALIAN    RENAISSANCE 


235 


A  poor  imitator  of  Titian  is  Alessandro  Varotari  (1590- 
1650),  called  II  Padovanino,  whose  "Venus  and  Cupid" 
(No.  1574)  seems  empty  and  without  life  like  a  thing 
in  porcelain.  Francesco  Trevisani  (1656-1746)  displays 
eclectic  mannerism  in  the  "Sleeping  Infant  Jesus"  (No. 
1555).     Sebastiano  Ricci  (1660-1734)  is  a  pure  mannerist. 


--  ,--5B^ 

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f^'  ^^ 

t    -H 

-  *«  «S3^H**""!^                  ^^^SHH^HI^BI^II^H 

E.  HauteccEur,  Phot.  Salle  VI 

1338.     Embarking  of  the  Doge  on  the  Biicfnfanr.  —  Gimnli. 


as  may  be  seen  in  the  figures  and  attitudes  of  his  subjects 
in  the  pictures  Nos.  1458  to  1461.  His  pupil,  Antonio 
Pellegrini  (1675-1741),  in  his  "Allegory"  (No.  1413),  once 
more  gives  us  the  expressionless  face  of  a  porcelain  doll. 
Venetian  art  had  not  entirely  perished,  however,  for  the 
artistic  inheritance  was  too  great.  Antonio  Canale  (1697- 
1768),  called  II  Canaletto,  painted  views  of  Venice  full  of 
atmosphere  and  light.  His  "View  of  the  Church  of  the 
Madonna  della  Salute"   (No.   1203)  is  one  of  the  most 


2:^6 


PAINTINGS   Ol"  THK    LOUVRE 


beautiful  and  most  characteristic  of  his  productions.  The 
sun  darts  its  golden  rays  upon  the  cupola  of  the  church, 
plays  on  the  water  and  among  the  houses,  and  the  vista 
along  the  Grand  Canal  is  executed  with  boldness  and 
sureness  of  touch.  On  the  piazza  there  is  a  gesticulating 
and  noisy  crowd,  gondolas  float  on  the  blue  waters,  and 
all  the  external  magic  of  Venice  is  before  us. 


Bmiin.  n-ment  ^-  Ci'=,.  i 


Salle  VI 


1332.     Procession  of  the  Doge  to  the  Church  of  St.  Zacharias.  —  Guardi. 


Francesco  Guardi  (1712-1793)  also  delighted  in  the 
beauty  of  his  native  city.  He  charmingly  distributed  the 
light  and  colour  in  his  picture  of  "  The  Embarking  of  the 
Doge  on  the  Bucentaur"  (Xo.  1328).  There  is  some- 
thing of  the  poetry  of  Venice  in  this  confusion  of  boats 
and  in  the  manner  in  which  the  artist  causes  all  the  houses 
to  stand  out  from  the  bosom  of  the  waters.  Elsewhere,  we 
see  the  movement  of  a  motley  crowd  in  the  "  Feast  Day 


DECLINE   OF    ITALIAN    RENAISSANCE        237 

on  the  Piazzetta  "  (No.  1330) ;  in  the  solemn  "  Procession  of 
the  Docre  to  the  Church  of  St.  Zacharias"  (No.  1332),  and 
in  the  "Feast  Day  of  Corpus  Christi"  (No.  1331),  in  the 
Piazza  di  San  INIarco.  AUhough  his  execution  is,  at  times, 
rather  sketchy,  Guardi,  nevertheless,  always  produces  a 
very  oritjinal  effect.  His  pictures  are  painted  reproduc- 
tions of  the  times  of  a  very  personal  character  and  are  the 


E.  HauteccEur.  Fhot.  Salle  VI 

1547.     The  Last  Supper,  —  Tiejiolo. 

last  representation  of  the  deeds  and  actions  of  the  dying 
republic. 

Giambattista  Tiepolo  (1696-1770),  by  his  brilliant  col- 
ouring, his  wealth  of  imagination,  his  firmness  of  touch 
and  facility  for  work,  is  the  Paul  Veronese  of  the  Rococo 
period.  The  scene  of  his  picture  called  "  The  Last  Supper  " 
(No.  1547)  is  laid  wdthin  a  large  and  lofty  colonnade. 
The  Saviour,  indicated  by  a  slight  halo,  raises  His  eyes  to 


238  TAINIINCS   OF    I' 1  IK    I.OIVKK 

hraven  in  ecstasy.  Koiiiul  a  lt)ii<i;  taMc  are  i^n-ouped  the 
disciples  in  varied  positions  and  with  (hfVerent  expressions 
of  astonishment,  fear,  rapture  and  huiiiihty.  lie  em- 
ployed all  the  wealth  of  colour  to  paint  the  garments,  as  if 
he  wished  to  rival  Veronese;  but  he  is  no  servile  imitator. 
He  bathes  all  his  pictures  in  a  warm  and  golden  light 
which  here  enters  in  floods  and  plays  on  the  silk,  on  the 
table-covering  and  on  the  pavement.  His  picture  No. 
1549,  consisting  of  a  banner  on  one  side  of  w  hich  are  the 
Virgin  and  Child  with  St.  John,  and  on  the  other  St. 
Martin  saying  mass,  is  bathed  in  a  fresh  and  silvery 
light,  and  the  grouping,  with  its  two  angels  who  float  in 
the  air,  is  charming. 

The  great  art  of  Italy  was  now  a  thing  of  the  past,  but 
it  continued  to  flourish  in  Flanders  and  Spain.  Tiepolo 
appeared  in  an  enfeebled  generation  like  a  last  vestige  of 
the  Golden  Age.  With  him,  after  a  long  death-agony, 
the  Renaissance  finally  perished  in  Italy. 


THE     SPANISH    SCHOOL 

A  JAj  good  art  bears  the  impress  of  its  nationality.  The 
'*■  ^  wars  of  religion  had  ravaged  the  East  and  West  for 
centuries,  and  Christianity  and  Mahometanism  struggled 
for  the  mastery  of  the  world.  When  the  Moors  had  been 
overcome,  and  Christianity  had  triumphed  in  Spain,  there 
arose  a  race  of  men  animated  with  violent  religious  zeal, 
ascetic  ard(nir  and  devotion  to  the  Church.  The  long 
struggle  which  had  just  ended  brought  the  natural  enthu- 
siasm of  these  people  to  its  highest  point.  .V  reflection  of 
this .  is  found  in  the  art  of  Spain,  notwithstanding  the 
influence  of  Italy  and  Flanders. 

Luis  Morales  (1509-1586),  called  "El  Divino,"  was  a 
very  important  representative  of  the  Spanish  school.  He 
was  a  painter  of  sacred  subjects,  and  to  the  painting  of 
these  he  was  drawn  by  his  strong  religious  instincts. 
The  figure  of  "Christ  Carrying  the  Cross"  (No.  1707) 
has  a  sorrowful  expression  which  is  very  touching.  The 
head,  with  its  auburn  hair,  is  bowed,  and  the  eyes,  heavy 
with  fatigue,  only  open  with  difficulty.  He  walks,  but 
the  weight  of  the  cross  seems  to  overpower  him.  To  the 
intensity  of  expression  and  brilliancy  of  colour  is  added 
an  execution  well  w^orthy  of  the  old  masters. 

Domenico  Teotocopuli,  called  "El  Greco"  (1548-1625), 
was  a  Greek  of  fantastic  imagination.  One  would  find  it 
difficult  to  say  if  his  works  are  the  result  of  exaggeration 
or  of  mannerism.     In  "  St.  Francis  and  a  Novice "  (No. 

i^39 


240 


rAINlINGS   OF    THE   LOUVRE 


1729  a)  llie  fifTurcs  are  of  inordiiicate  length,  have  angular 
limbs,  faces  of  ])archnicnl  and  ashy-grey  skin  in  deep 
shadow.      A   picture  by  El  (Jreco,  called  a  "Portrait  of 


E.  Hauteccur,  I'liut.  Salle  VI 

1707.     Christ  carrying  the  cross.  —  Morales. 


King  Ferdinand  of  Aragon,"  has  recently  lieen  added  to 
the  Louvre  collection  and  has  no  number.  There  was 
ardour  in  the  work  of  this  Greek,  but  he  was  appar- 
ently half  mad  and  repels  rather  than  attracts. 

His  favourite  pupil  was  Luis  Tristan  (1586-1640)  whose 
"  St.  Francis  of  Assisi "  (No.  1730)  is  a  decrepit  old  man, 


THE   SPANISH   SCHOOL 


241 


Brnim,  Clcuicnt  ^;  Lie.,  I'lu.t. 


Salle  VI 


1706.      St.  Basil  (llcf<ifi»i<f  Inn  (lorfriiic  — llentra. 


strikingly  realistic,  with  an  expression  of  religious  ardour 
peculiar  to  the  Spanish  temperament. 

There  was  artistic  feeling  in  these  primitive  Spanish 
masters  though  they  were  unable  to  give  full  expression 
to  it.  The  exact  interpretation  of  nature  was  natural  to 
them,  and  to  this  they  united  religious  fanaticism. 


242  rAINTINCS   OF    rilf'.    LOT  V  UK 

Francisco  do  IltM-nrM  (loTO-KioO),  called  "El  Vicjo," 
was  a  M'ild  ami  iinlaiiicd  <4cniiis,  and  there  is  an  almost 
diabolical  cruelty  in  the  "St.  Basil  Dictating  His  Doc- 
trine" (Xo.  17()()).  AVe  sliould  l)e  tempted  to  see  in  this 
picture  a  sfitire  a(];aiiisl  tii(>  Iiupiisition  if  this  idea  were 
compatible  with  the  sj)irit  of  the  times.  "St.  Basil,  with 
a  l)ook  on  his  knees  and  in  a  ))lack  cloak,  is  a  hitter  fanatic, 
and  tlic  Holy  (Ihost,  who  hovers  above  him,  looks  like 
some  cruel  monster."  St.  Domenico,  on  the  right,  in  a 
white  robe,  with  l)lack  lines  under  his  eyes,  is  the  type  of 
a  zealot,  with  ugly  and  repulsive  features  from  which  all 
human  feeling  is  absent.  The  whole  picture  is  boldly 
painted  in  a  vigorous  chiaroscuro  (the  art  of  judiciously 
distri])uting  lights  and  shadows),  but,  in  this  case,  this  is 
sometimes  miecjual.  It  seems  as  though  the  flames  of  an 
auto-da-jc  of  the  Inquisition  ])lay  upon  this  picture  with 
their  sinister  light. 

IJke  Ilerrera,  Francisco  Zurbaran  (1.'>08-I()f)''2)  Avas 
born  in  Seville.  Tie  was,  par  excellence,  the  painter  of 
monks.  Tliese  he  always  knew  how  to  present  under  a 
new  light,  witliout  ever  repeating  himself,  because  the 
subject  appealed  to  him,  anfl  the  models  were  always 
before  his  eyes.  His  two  large  pictures  of  monks,  Nos. 
1738  and  1739,  of  which  the  latter  is  "The  Funeral  of  a 
Bishop,"  are  scenes  from  the  life  of  St.  Buenaventura. 
There  are  in  them  types  which  Zurbaran  constantly 
saw  in  the  streets  of  Seville.  He  could  represent  the  monk 
of  .slender  intelligence,  but  ingenuous  heart,  as  well  as 
the  ascetic  zealot.  The  draping  of  the  habit  always 
interested  him.  His  colours  are  well  distributed  in  simple 
and  quiet  tones,  but  he  sometimes  put  in  some  vigorous 


THE  SPANISH   SCHOOL 


243 


E.  Hautecceur.  Phot. 


Salle  VI 


1739.      The  funeral  of  a  Bishop.  —  Zurharan. 


and  effective  touches,  such  as,  for  instance,  the  red  Car- 
dinal's hat  on  the  dead  body  clothed  in  white. 

It  was  a  peculiarity  of  Spanish  art  that  its  representa- 
tives were  rather  developed  individually  than  under  the 
influence  of  schools.  Jose  de  Ribera  (1588-1656)  is  an 
individualist  in  the  strictest  sense  of  the  word.     Born  at 


244  r  A  I  N  T  I  N  ( ;  S    ( )  I"    T  111-:    I  A)  I   \  K  1', 

Jativa.  a  pupil  of  Rihalta,  lie  found  a  second  home  in 
Naples  during  the  Spanish  doniiiiation  and  an  artistic 
model  in  Carava<];<j;io's  works.  One  may  well  say  that 
Ribera  is  the  only  successor  of  the  <j;reat  realistic  painter 
Caravairirio,  who  has  inherited  all  the  hitter's  (pialities. 
lie  sliares  with  him  his  personal  insi<,dit,  the  gift  of 
finding  1)eauly  even  in  the  ungainly,  absolute  respect  for 
nature,  boldness  in  ihe  use  of  light,  and  an  imagina- 
tion which  was  vivid  as  well  as  sometimes  cruel.  "St. 
Paul  as  a  Hermit"  (No.  17^2.'}),  praying  before  the  en- 
trance to  his  cave,  is  a  worn-out,  aged  man  of  an  almost 
terrifying  realism.  The  eyes,  dimmed  by  a.sceticisni  and 
age,  are  fervently  raised  to  heaven.  Masses  of  unkem])t 
liair  and  a  beard  encircle  the  emaciated  and  wrinkled 
face.  The  muscles  and  veins  show  plainly,  and  the  crude 
lio-hts  and  black  shadows  make  the  ))archment-like  ap- 
pearance  of  the  skin  doubly  evident. 

"  The  Entombment "  (No.  1722)  is  poignant  and  leaves 
an  almost  cruel  impression.  Ribera  has  here  given  the 
appearance  of  death  with  great  power.  On  the  left,  St. 
Jo.seph  of  Arimathjiea  rai.ses  the  body.  The  forearm 
rests  inert,  and  thus  the  relaxed  articulations  of  the  wrist 
are  made  noticeable.  The  treatment  of  the  limbs  gives 
a  vivid  impression  of  death,  and  we  perceive  that  the 
works  of  Michael  Angelo  were  not  lost  sight  of  by  Ribera. 
The  Virgin  appears  quite  in  shadow,  and,  on  one  side, 
St.  John  wrings  his  hands  in  a  gesture  of  grief.  In  order 
to  emphasize  this  note  of  despair  and  violent  emotion, 
Nicoderaus  calmly  occupies  himself  with  the  burial.  His 
cloak  throws  a  bright  reflection  on  the  face  of  St.  Joseph, 
and  this  brilliant  colour  contrasts  with  the  livid  appearance 


THE   SPANISH   SCHOOL  245 

of  the  dead  body  the  black  shadows  of  which  make  it  look 
still  more  ghostly.  Here  Ribera  is  the  worthy  successor 
of  Caravaggio. 

Similar  power  is  lacking  in  the  second  treatment  of  the 
same  subject  (No.  1725  a),  attributed  to  Ribera.  Here 
realism   is  wanting,  for   death   might  be  taken  for  pro- 


E.  Hautecneur,  Ph'it. 


Salle  VI 


l'l/22.      The  Entomhment.  —  Ribera. 


found  sleep    and  St.  John  is  a  devoted  slave  rather  than 
a  disciple  in   great  grief. 

An  attempt  has  been  made  to  prove  that  Ribera  painted 
in  various  manners,  but  this  is  not  so.  He  was  always  the 
painter  of  reality.  It  was  with  more  and  more  picturesque- 
ness  that  he  learnt  how  to  interpret  deep  grief  and  ardent 
ferv^our.  This  we  see  in  "  The  Adoration  of  the  Shepherds  " 
(No.  1721).     He  has  made  the  scene  quite  of  this  world. 


2W  PAINTINGS   OK    THE    LOUVRE 

without  flicrehy  causing  it  to  ])v  trivi.-il.  These  sliephcrds, 
wlio  how  ill  adoration,  arc  men  taiiiHMJ  hv  llie  sun  and 
o]>en  air.  'I'h(>y  look  upon  tiio  Cliihl  with  nieUiiieh(jly 
astonishment.  riu'V  eamiot  h<'lieve  in  a  salvation  meant 
for  them  also  —  for  thcMu  whom  happiness  seemed  to 
have  forifotten  in  their  humhle  condition.  In  the  hack- 
ground,  a  young  shepherd  raising  his  caj)  advances  tim- 
idly, scarcely  daring  to  apj)roach  the  "  Prince  of  Heaven," 
and  there  is  (juite  a  study  of  costumes  and  manners  in 
these  three  figures.  The  Virgin  kneels  hefore  the  Child. 
She  is  a  beautiful  woman  of  this  world,  with  an  expression 
of  earnest  devotion,  and  it  is  this  which  makes  her  superior 
to  her  surroundings  and  which  seems  to  lend  her  celestial 
attributes  without  the  assistance  of  halo  or  suj)ernatural 
beauty.  The  monotonous  landscape  is  bathed  in  warm 
sunlight  and  represents,  indeed,  "the  hard  and  cruel  world 
which  the  Saviour  came  to  redeem."  "  The  Virgin  and 
Child"  (No.  17''24)  is  hardly  more  than  a  copy  of  the 
central  group  in  the  preceding  picture.  In  "The  Club 
Foot"  (No.  1725),  in  the  La  Caze  Gallery,  Ribera  is  a 
true  painter  of  his  time.  Here  is  a  mischievous  little  beg- 
gar boy  making  use  of  his  infirmity  to  earn  his  living  from 
day  to  day,  unmindful  of  the  morrow.  The  close-crop])ed 
hair  and  pointed  ears  are  those  of  a  beggar  of  the  South. 
To-day,  as  then,  he  laughs  when  he  receives  charity  at 
our  hands,  and  three  centuries  have  not  changed  him. 
The  four  philosophers,  Nos.  1726,  1727,  1728,  and  1729, 
in  the  La  Caze  Gallery,  attributed  to  Ribera,  cannot  be 
by  him,  for  the  workmanship  is  too  crude.  They  might, 
perhaps,  be  ascribed  to  the  rapid  painter  Giordana. 
The  works  of  Ribera  are  full  of  truth  and  reality,  but 


E.  Hautecoeur,  Phot.  Salle  VI 

1721.     The  adoration  of  the  shepherds.  —  Ribera. 


247 


248 


PAINTINGS   OF  THE   LOUVRE 


the  absolutely  unrivalled   master  in  these  qualities  and 
therefore  one  of  the  greatest  portrait  painters  of  all  time 


E.  Hautecteur,  Phot.  Salle  I 

1725.     The  club-foot.  —  Ribera. 

was  Don  Diego  Rodriguez  de  Silva  Velasquez  (1599-1680). 
"With  the  grasp  of  external  attributes,  he  combined  a  su- 
perior knowledge  of  character  and  a  remarkable  capacity 
for  discovering  the  innermost  workings  of  the  mind  and 
the  most  intimate  characteristics  of  his  models.      He  but 


THE   SPANISH   SCHOOL  249 

too  often  applied  this  talent  to  uncongenial  subjects  such 
as  little  princesses  in  the  shapeless  Spanish  costumes  of  the 
times.  These  works  he  was  obliged  to  execute  for  Philip 
IV,  at  whose  court  he  was  employed  as  Master  of  the 
Palace.  He  treated  these  insignificant  fair  dolls,  however, 
with  incomparable  skill.  In  the  charming  rendering 
of  the  little  "Infanta  Marguerita  Maria"  (Xo.  1731),  in 
the  Salon  Carre,  we  have  a  child  five  years  of  age  in  a 
pale  grey  dress  trimmed  with  black  lace.  The  right  hand 
demurely  rests  on  a  chair,  while  the  left  hangs  down 
and  holds  some  flowers.  In  this  child's  rosy  round  face, 
surmounted  with  tresses  of  fair  hair,  glitter  two  bright  eyes, 
but  there  is  no  look  of  childish  merriment.  Velasquez 
gave  gravity  and  dignity  to  this  face,  and,  from  her  at- 
titude, "this  child,  with  her  self-conscious  expression 
and  small  closed  mouth,  is  evidently  the  daughter  of  a 
king."  The  glistening  grey  silk  dress  is  stiff,  but  full  of 
refinement.  Velasquez  relieved  the  dull  gold  colour  of 
the  hair  by  the  delicate  shade  of  the  knot  which  binds  it. 
Still  more  ungrateful  was  the  task  of  painting  the  "  In- 
fanta Dona  Maria-Theresa  (No.  1735),  in  the  La  Caze 
Gallerv,  heretofore  always  supposed  to  be  the  wife  of 
Louis  XIV  (see  foot-note,  page  300).  The  shapeless  dress 
with  the  hoopskirt  obliges  the  princess  of  about  twelve 
years  of  age  to  hold  her  arms  far  from  the  body.  She 
wears  an  ugly  structure  of  fair  curls.  We  understand  the 
repulsion  which  Louis  XIV  would  have  felt  on  seeing  for 
the  first  time,  his  fiancee  in  this  apparel.  But,  notwith- 
standing all  this  disfigurement,  the  manner  of  treating  the 
character  of  this  insignificant  little  person  is  masterly,  and 
Velasquez  represents  her  with  such  truth  as  to  even  make 


250 


PAINTINGS   OK  THE   LOUVRE 


..iNFANTt,, 

MARGVEHllI 

M 

^jkujm^ 

.-)        m 

BV^K'    .  1 

">        '^ 

^^L— *i«9ds^^9^^^^^H 

flF4ii^«A 

H.  Hautectfur,  I'hi.it 


Sal  '11  Carre 


i75i.     T/te  Infanta  Marguerita  Maria.  —  Velasquez. 

her  interesting.  The  genuineness  of  the  "  Portrait  of  a 
Young  Woman"  (No.  1736)  has  been  much  called  in 
question  in  recent  times.  Probably  it  is  not  an  intentional 
forgery,  but  a  copy  of  one  of  Velasquez'  works. 

Pliny  says  that  Alexander  the  Great  issued  an  edict 


THE   SPANISH   SCHOOL 


251 


which  forbade  any  other  than  Apellcs  to  paint  his  por- 
trait.    Perhaps  Phihp  IV  remembered  this  when  he  prom- 


E.  HauteccEur,  Ph..t.  Snllc  \-I 

1732.     PhUip  IV  in  hunting  costiimf  . —  Vflasquez. 

ised  Velasquez  not  to  allow  any  other  artist  to  immortalise 
him.  The  king,  being  the  most  renowned  sportsman  of 
his  time,  was  often  represented  by  Velasquez  in  hunting 


252  PAINTINGS   OF  THE   LOUVRE 

costume,  one  example  of  which  may  he  seen  in  No.  1732. 
Ilis  expression,  in  every  way  insignificant,  is  not  improved 
hy  his  extraordinarily  developed  chin,  nor  by  the  famous 
under  lip  of  the  Ilapsburgs.  The  position  is  easy,  with 
the  foot  sli<^htly  advanced;  one  hand  rests  on  the  hip,  and 
a  lonfi;  gun  is  in  the  other  as  he  stands  in  an  attitude  of 
expectancy.  At  his  side  is  his  large,  intelligent  dog.  In 
j^resence  of  this  picture  we  can  realize  how  easy  it  was 
for  IMiilip  IV  to  become  a  tool  in  tiie  hands  of  his 
minister,  Olivarez.  The  weakness  of  the  king's  nature 
is  but  too  visible,  notwithstanding  the  eyes  with  tlieir 
steady  gaze.  The  treatment  of  iiglit  is  most  skilful 
and  it  illuminates  the  entire  face,  models  each  little 
detail  and  plays  on  his  gloves,  his  clothes  and  his 
y)()lishe(l  gun.  We  see  the  king  again  in  another  portrait 
(No.  1733)  in  the  La  Caze  Gallery,  where  he  is  older  and 
his  face  is  fuller.  His  age  is  also  noticeable  in  the  looser 
skin.  The  eyes  look  calmly  into  distance,  and  are  a  little 
more  tired  and  weary,  and  the  mouth  is  narrower  and  seems 
drawn  with  pain.  As  with  his  other  models,  Velasquez 
drew  from  this  subject  all  that  was  to  be  found  there. 

Don  Pedro  Moscoso  de  Altamira  (No.  1737)  is  clearly 
the  astute  prelate  who  is  better  skilled  in  the  things  of  this 
world  than  in  those  of  the  next.  The  manner  in  which  he 
holds  his  breviary  indicates  tenacity  of  purpose.  His 
well-kept,  white  and  soft  hand  seems  to  show  his  weak- 
ness for  pleasures.  Here  is  the  calm  and  confident  ex- 
pression of  a  man  who  has  a  goal  before  him,  who  pursues 
it  indefatigably  and  will  certainly  attain  it.  Strong  shad- 
ows give  the  head  a  very  plastic  modelling.  It  is  a  splendid 
representation  of  a  remarkable  character  admirably  ren- 
dered. 


THE   SPANISH   SCHOOL  253 

The  picture,  probably  wrongly  called  "  An  Assembly  of 
Artists"  (No.  1734),  is  a  meeting  of  thirteen  animated 
persons  standing  in  easy  and  graceful  positions.  They  are 
Spanish  gentlemen,  among  whom,  on  the  left,  clothed  in 


E.  HauteciEur,  Phot.  Salle  VI 

1737.     Don  Pedro  Moscoso  de  Altamira.  —  Vflnsquez. 

black,  is  Velasquez  himself  and  also  Murillo.  They  talk 
with  ^^vacity  and  gesticulate,  without  forgetting  their 
natural  Spanish  dignity  of  manner.  Here,  as  elsewhere, 
the  artist  has  composed  his  picture  so  naturally  and  with 
so  little  effort  that  the  difficulty  of  representing  and  group- 
ing thirteen  figures  standing  in  varied  positions  is  in  no 


e 


254, 


THE   SPANISH   SCHOOL  255 

way  apparent.  The  delicate  light  colouring  of  the  differ- 
ent costumes  is  harmoniously  and  beautifully  treated. 

This  wonderful  artist,  who  lived  in  the  enervating 
atmosphere  of  a  court,  never  lost  his  energy  and  main- 
tained always  the  same  high  level.  Jealousy  was  foreign 
to  his  nature.  This  is  why  Carrefio  de  Miranda  (lOl-t- 
1G85),  his  successor  as  court  painter,  had  the  good  fortune 
to  be  protected  and  encouraged  by  him.  Carreno's  "St. 
Ambrose  Distributing  Alms"  (No.  1702)  is  agreeable  in 
colouring  and  careful  in  execution  and  clearly  shows  that 
he  had  learned  much  from  ^'an  Dyck  and  Rubens. 

One  of  Velasquez'  greatest  titles  to  admiration  as  a 
man  was  the  lively  interest  Avhich  he  took  in  the  poor 
young  Bartolomes  Esteban  ^Slurillo  (1()17-1C82).  Born  at 
Seville  on  the  31st  of  December,  1617,  of  very  poor  pa- 
rents, jVIurillo  had  learned  painting  with  a  local  celebrity 
named  Juan  de  Castillo  and  had  learned  it  badly.  One 
of  his  comrades  who  had  travelled  much,  Ijrought  back  to 
Seville  marvellous  tales  concerning  the  art  of  the  Nether- 
lands, and,  from  that  moment,  the  young  Murillo  deter- 
mined to  travel.  His  means  only  allowed  him  to  go  as 
far  as  Madrid.  Then  it  Mas  that  the  great  Velasquez, 
with  the  most  absolute  disinterestedness,  came  to  his 
assistance.  At  the  end  of  two  years,  in  1645,  Murillo 
returned  to  his  own  city.  His  first  large  order,  namely, 
eleven  scenes  from  the  lives  of  St.  Francis  and  St.  Diego, 
destined  for  the  Convent  of  the  Franciscans,  firmly  estab- 
lished his  fame.  To  this  series  belongs  "  The  Kitchen 
of  the  Angels"  (No.  1716).  This  picture  represents  the 
miracle  of  St.  Diego  in  a  charming  and  simple  manner. 
The  saint,  a  poor   lay  brother  in  an  ecstasy  of  prayer, 


i 

gj. 

3^ 

j.'WL 

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256 


THE  SPANISH   SCHOOL  257 

floats  in  the  air  with  a  halo  of  hght  .surroiin(Ung  him. 
Meanwhile,  his  earthly  duties  are  performed  by  angels, 
one  of  whom,  in  the  foreground,  is  about  to  fetch  water 
and  is  being  consulted  by  a  second  angel  on  the  subject 
of  a  piece  of  uncooked  meat  on  which  he  rests  his  hand. 
One  of  two  charming  little  angels  is  cleaning  vegetables 
and  the  other  is  pounding  in  a  mortar,  while  still  another 
sets  the  plates.  They  are  surprised  in  their  occupation 
by  the  entrance  of  a  monk  followed  by  the  prior  and 
some  courtiers.  The  astonishment  of  these  intruders 
is  admirably  indicated  by  their  attitudes  and  gestures. 
The  imposible  here  becomes  a  reality,  and  appears 
natural.  There  is  in  this  work  all  the  strength  of  what 
faith  can  produce,  and  we  are  compelled,  for  a  moment, 
also  to  believe  in  the  miracle  without  question.  Here  we 
already  see  how  great  Murillo  was  as  a  colorist,  and  that 
note  of  delicate  pink,  so  characteristic  in  his  works,  is 
found  here.  The  figures  of  the  angels  stand  out  dis- 
tinctly in  the  dim  light  of  the  kitchen,  but  they  are  per- 
haps a  little  too  scattered,  and,  thus,  the  unity  of  effect 
is  too  much  broken  up. 

When  Murillo,  at  this  period,  painted  a  Madonna,  as, 
for  instance,  "The  Virgin  of  the  Rosary"  (No.  1712),  she 
appears  in  the  type  of  a  beautiful  Spanish  woman  with 
large  dark  eyes.  She  is  not  the  Divine  Mother  of  God, 
but  only  a  woman  of  this  world,  happy  in  the  possession 
of  her  child  and  clothed  in  brilliant  colours  of  red,  white, 
and  green  which  stand  out  in  relief  against  a  dark  back- 
ground. How  tender  is  the  body  of  this  little  child  and 
what  natural  baby  grace  there  is  in  the  soft  limbs  and  the 
gesture  of  the  hands!     Murillo,  better  than  any  other, 


Sfis 


PAINTINGS   OF    THE    I-OUVHR 


E.  Hautecoeur,  Phot. 

ni2.     The  Virgin  of  the  Rosary.  —  MuHUo. 


Snlle  VI 


understood  the  inmost  nature  of  a  child,  whether  it  was  a 
question  of  representing  the  Infant  Jesus  or  a  little  beggar 
boy.  "A  Little  Beggar  Boy"  (No.  1717),  in  the  Long 
Gallery,  is  a  street  urchin  of  Seville  who,  in  a  dark  corner, 
gives  himself  up  to  an  uniesthetic  occupation.  A  broad 
ray  of  golden  light  falls  on  him.     The  head  with  close- 


THE   SPANISH   SCHOOL 


259 


cropped  hair,  and  the  position  make  a  picture  of  real  life, 
the  life  of  the  South  with  all  its  warmth  and  sunshine. 
It  is  one  of  the  numerous  enigmas  of  art  that  Murillo,  who 


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E.  Hautecceur.  Ph.it. 


Salle  VI 


nil.     A  little  beggar  boy.  —  Murillo. 


dared  to  sound  the  greatest  mysteries,  also  understood  and 
could  render  the  commonest  things  of  the  earth  earthy. 
His  faculty  for  truthful  interpretation  we  see  in  the 
two  portraits,  "The  Poet  Quevedo"  (No.  1718)  and  the 
"Duke  of  Ossuna"  (No.  1719),  both  in  the  La  Caze 
Gallery.  They  are  Hving,  and  this  is  the  greatest  praise 
which  can  be  given  to  a  portrait. 


Snn  PAINTINT.S    OV   TIIK    T.OrVRE 

But  Murillo  is,  ahove  all,  idoiitifiod  with  religious  sub- 
jects. "The  liirth  of  the  Vir<,riii"  (No.  1710)  is  one  of 
those  pictures  in  which  the  s])intual  and  the  earthly 
appear  to  be  blended  in  ])erfect  harniony.  In  tlie  half- 
light  of  a  sick-room,  a  woman  of  advanced  years  holds  the 
new-bom  child  on  her  knee  and  smiles  at  it.  One  young 
woman  feels  the  temperature  of  the  batli  with  licr  liand, 


^^ 

m- 

E.  Hautecctur,  Phot. 


Salle  VI 


1710.     The  birth  of  the  Virgin.  —  Murillo. 


and  another  brings  the  linen.  In  the  background  on  the 
left,  appears  St.  Anne  in  bed,  while  near  her  is  St.  Joa- 
chim, and  angels  are  introduced  amongst  them  in  the  most 
natural  manner  possible.  In  the  foreground,  two  little 
ones  are  occupied  with  the  linen  basket.  What  a  charm 
there  is  in  the  w^ay  in  which  one  of  them  turns  toward 
the  dog  with  a  mischievous  sign  to  keep  still!  Farther 
back,  are  two  other  persons  curiously  and  reverently 
obser\ang  the  future  Mother  of  God,  while,  in  the  air,  a 
group  of  tiny  angels  is  fluttering.     There  is  real  mysticism 


THE   SPANISH   SCHOOL  261 

in  this  union  of  earth  and  heaven.  A  soft  ray  of  light 
falls  on  the  bed  of  St.  Anne,  but  the  principal  light  seems 
to  emanate  from  the  body  of  the  child.  This  enliances 
the  colours  of  the  angels'  garments  and  those  of  the  ser- 
vants and  also  emphasises  the  brilliancy  of  this  blending 


WM 

■■ 

^^^^^^^^^^^^^^^^^^^^^^^■^^^^^^^^ 

_^^^^^^^^B 

E.  IIaiitci_u:ur,  Pliut.  Salic  VI 

tJOS.      The  Immandate  Conception.  —  Muril/o. 

of  tender  pink  and  pale  yellow.  As  a  contrast  to  the 
celestial  light,  we  see  the  pale  glow  of  a  fireplace  well 
back  on  the  right. 

An  artist  animated  by  so  sincere  and  simple  a  faith  was 
predestined  to  become  the  painter  of  that  great  mystery 
of  the  Immaculate  Conception.  Murillo  painted  this  sub- 
ject more  than  thirty  times,  and  it  is  by  these  works  that 
we  can  best  judge  his  religious  enthusiasm.  One  of  the 
first  of  the  representations  of  this  subject  (Xo.  1708) 
shows  the  Virgin  standing  in  the  crescent  of  the  moon. 


262  PAINTINGS   OF   THE   LOUVRE 

The  head  is  inclined,  the  hands  are  joined,  she  is  the 
servant  of  the  I^ord  receiving  the  mystic  fi;race,  and  tliere 
is  huinihty  in  the  features  of  tliis  beautiful  countenance 
surrounded  l)y  an<;els.  Murillo's  pictures  had  not  here 
lost  all  earthly  attributes,  for  below,  on  the  extreme  left, 
are  worshippers  with  admirably  rendered  characteristics. 
One  of  them,  in  ecstasy,  raises  his  eyes  to  the  Divine 
apparition,  and,  on  the  features  of  a  second,  suppressed 
wonder  is  depicted.  A  boy  contempUites  the  holy  form 
with  awe  and  astonishment,  while  an  ajj^ed  man,  probably 
the  donor  of  the  picture,  is  apparently  explainini^  tlie 
mystery  to  him.  The  whole  is  painted  in  warm,  t^olden 
tones,  as  with  the  li<i;ht  of  setting  suns. 

From  the  next  picture  (No.  1709)  all  earthly  elements 
are  banished.  The  Virgin,  with  her  eyes  raised  to  heaven, 
is  no  longer  a  woman;  she  is  a  divine  apparition.  Around 
her  are  angels  in  adoration,  filled  with  joy  at  the  ineffable 
grace  received  by  her  and,  through  her,  transmitted  to 
all  humanity.  Heaven  is  open,  and  from  it  descend 
streams  of  light  wdiich  surround  the  Virgin.  The  silvery 
crescent  of  the  moon  shines  with  magic  l)rilliancy,  and  the 
clouds  throw  dazzling  reflections  on  the  blue  and  white 
of  the  Virgin's  robe.  Far  beneath  is  the  earth  in  deep 
darkness. 

Another  work  with  tlie  same  (|ualities  is  "The  Holy 
Family"  (No.  1713),  a  representation  of  the  Trinity. 
The  features  of  St.  Elizabeth,  so  full  of  character  and 
dignified  by  age,  are  idealized  by  deep  feeling.  St.  John 
offers  the  cross  to  the  Infant  Jesus  who  is  standing  on  the 
knees  of  the  Virgin.  Her  embrace  is  close  and  natural, 
and  the  look  which  she  raises  to  the  Divine  Child  con- 


THE  SPANISH   SCHOOL 


263 


veys  everything  of  tenderness  and  adoration  of  which  the 
heart  is  capable.     The  attributes  of  heaven  once  more  ap- 


K.  Il.-int  ■ r.  Fli.it. 

170:1.     The  Immaculate  Conception. 


Salle  VI 


■  Murillu. 


pear,  for  it  is  open,  and  in  it  the  Holy  Ghost  is  seen,  and 
God  the  Father  borne  on  the  clouds  blesses  his  well-beloved 
Son.     It  is  impossible  to  describe  the  mysterious  quality  of 


264 


PAINTINGS  OF  THE  LOUVRE 


the  li^ht,  the  beauty  of  the  bright  bodies  issuing  from  the 
environing  shadow  and  the  tender  harmony  of  colour. 


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Salle  VI 


1704.     Guillemardet ,  French  Embassador  to  Spain.  —  Goya. 


The  two  pictures  Nos.  1714  and  1715  suffer  from  the 
coldness  of  the  marble  on  which  they  were  painted. 
As  compared  with  Velasquez  and  Murillo,  the  remaining 


THE  SPANISH   SCHOOL 


265 


representatives  of  Spanish  art  are  of  relatively  small  im- 
portance. The  "Burning  Bush"  (No.  1703),  by  Fran- 
cisco Collantes  (1599-1656),  is  a  landscape  of  ideal  com- 
position, but  without  any  personal  character.     The  brown 


E.  HauteciBur.  Ph^t 


-•11-  VI 


llOIf  A.     A  young  Spatiish  woman.  —  Goya. 

tones  are  after  the  manner  of  the  Italian  school.  In  a 
still  life  picture  of  "  Fruits  and  Musical  Instruments  "  (No. 
17!20),  Antonio  Pereda  (1599-1669)  shows  himself  to  be  a 
careful  but  insignificant  artist.  Juan  de  Arellano  (1614- 
1676)  in  his  picture  of  "  Flowers"  (No.  1701),  the  colours 
of  which  are  confused,  does  not  offer  us  much  of  interest. 
However,  almost  a  hundred  years  later,  Spain  produced 


2G()  rAINlINGS   OF   THE   LOUVUE 

another  painter  of  importance  to  all  art,  Francisco  Goya 
(1740-1828),  who,  at  a  period  when   classic    convention- 


E.  Hautecaur,  Phot.  Salle  VI 

1705.     A  young  Spanish  woman  with  a  fan.  —  Goya. 

ality  and  affectation  of  attitudes  had  invaded  central 
Europe,  created  works  full  of  life  and  satire.  They  are 
masterpieces  executed  in  a  vein  of   caricature.     He  has 


THE  SPANISH   SCHOOL  267 

put  something  of  his  sarcasm  into  the  picture  called  "  F. 
Guillemardet,  Ambassador  of  the  French  Republic  to 
Spain"  (So.  1704).  Here  is  a  man  who  owes  his  eleva- 
tion to  the  Revolution,  and  who,  even  as  an  Excellency, 
feels  himself  superior  to  his  rank.  The  position  of  the 
body  gives  a  picturesque  and  very  rich  effect.  As  a  true 
Spaniard,  Goya  loved  warm  hues  and  enlivens  the  dark 
clothes  with  tricoloured  plumes  and  a  scarf. 

The  portrait  of  a"  Young  Spanish  ^Yoman  "  (No.  ITO-t  a) 
is  a  truthful  rendering  of  a  southern  girl.  The  grey  tones 
in  the  folds  of  the  dress  and  in  the  fan  are  remarkable. 
It  is  a  speaking  work  of  art. 

Efjually  spirited  is  the  treatment  of  a  "  Young  Spanish 
Woman  with  a  Fan"  (No.  1705),  in  a  black  mantilla, 
and  with  a  })ink  knot  in  her  hair  as  an  adornment.  The 
erect  pose,  almost  inclined  backward,  and  the  crossed 
arms  are  full  of  Spanish  grace.  The  soft  pearl  grey 
background  of  the  picture  not  only  gives  brilliancy  to 
the  colouring.  l)ut  blends  the  whole  into  harmony.  A 
recent  acquisition  is  the  portrait  of  Don  Evaristo  Perez 
de  Castro  (Xo.  1705  a). 

Much  has  been  said  concerning  the  true  aim  of  art,  and 
many  have  thought  that  its  object  was  to  give  pleasure 
only;  but  as  Mr.  Pater  says,  "Art  comes  to  you  profes- 
sing frankly  to  give  nothing  but  the  highest  quality  to  your 
moments  as  they  pass,  and  simply  for  those  moments' 
sake." 


NOTES 


Page  27 

(1)  The  very  fine  picture  "St.  John  the  Baptist"  (No.  1274)  was 
originally  ascribed  to  Uccello,  but  this  is  undoubtedly  incorrect.  Signor 
Ventieri  attributes  it  to  Bianchi  Ferrari  and  Mr.  Berenson  to  Piero  di 
Cositno.     So  this  work,  we  must  confess,  represents  a  still  unsolved 

problem. 

Page  29 

(2)  It  is  difficult  to  recognize  in  this  picture  the  manner  of  Fra 
Filippo,  but,  in  view  of  Vasari's  statement  that  the  head  of  the  Madonna 
is  a  portrait  of  Lucrezia  Buti,  one  feels  inclined  to  think  that  Lippi 
must  have  been  the  author  of  it. 

Page  33 

(3)  This  picture  has  been  ascribed,  and  very  justly,  to  the  School  of 

Pesellino. 

Page  39 

(4)  Attributed  to  Jacopo  da  Sellajo  by  Makowsky, 

Page  44 

(5)  Attriljuted  to  Amico  di  Sandro,  that  is  to  say,  to  the  School  of 
Botticelli  by  Mr.  Berenson. 

Page  64 

(6)  Attributed  to  Raflfaelino  dei  Carli  by  Mr.  Berenson. 

Page  66 

(7)  These  pictures,  as  well  as  Nos.  1571  and  1572,  were  attributed 
by  Crowe  and  Cavalcaselle  to  Pinturicchio. 

Page  75 

(8)  This  picture  is,  perhaps,  not  entirely  from  the  brush  of  Giovanni. 
It  was  attributed  to  Rondanelli  by  Crowe  and  Cavalcaselle. 

Page  85 

(9)  Herr  Thove  attributes  it  to  Correggio  in  his  prime. 

269 


270  rAINTIXCS   OK   TllK    LorVHF, 

Pagf  HH 

(10)  This  picliirc  vvius  attributed  to  the  School  of  Cosla  hy  Crowe 
and  Cavalcaselle. 

Pagr  91 

(11)  Sii^'iior  Vi'iitiiri  asfrilx's  the  very  fine  fcinalo  portrait,  No.  1G73, 
to  Costa,  but  we  must  feci  that  its  authorsiiip  is  still  a  proljlcm. 

Tage  143 

(I'J)  "Tlic  Circumcision"  (No.  li.'iS),  wroni^ly  attrihufed  on  the 
frame  to  liagnoc-avalio,  is  undoubtedly  by  Giulio  Romano,  according 
to  Morelli. 

Page  1,>4 

(1.3)  This  work  is  not  from  the  l)rusli  of  Sarto,  but  is  a  work  of  his 
school. 

Page  209 

(14)  Eclecticism,  in  this  sense,  was  a  term  applied  to  a  school  of 
artists  who  endeavored  to  select  and  imitate  only  the  l)est  cliaract eristics 
and  most  salient  features  of  all  the  schools  which  had  gone  before. 


INDEX    OF    PAINTINGS 


INDEX  OF  PAINTINGS 

PAGE 

Albaxi  (Francesco).     1578-lGGO.     Bolognese      .      .      .     216 
1107.     The  Toilet  of  Venus.     S.  \T. 

1109.  Disarmed  Cupids.     Salles  des  Dessins. 

1110.  Venus  and  Adonis.     Salles  des  Dessins. 

1111.  Diana  and  Actaeon.     S.  IX. 

Albertinelli  (Mariotto).     1474-1.51.5.     Florentine       .      150 

1114.  The  Virgin  and  Child  between  St.  Jerome  and 

St.  Zenobius.     S.  VI. 

1115.  Christ  appearing  to  Mary  Magdalene.     S.  VI. 

CoRREGGio  (AxTONio  Allegri).    1494-15;}4.    Of  Parma  .      201 

1117.  The  Mystic  Marriage  of  St.  Catherine.     S.  IV. 

1118.  The  Sleeping  Antiope.     S.  IV. 

Alunxo  (NicoLO    DA   FoLiGxo).     1430(  .^)-1492(  ?).    Fo- 

ligno 57 

1120.  Predella  in  three  parts.     S.  VI. 

Caravaggio  (Michelaxgelo  Amerighi).     1569-1G09. 

Lombard .      222 

1121.  Death  of  the  Virgin.     S.  VI. 

1122.  A  woman  fortune-teller.     S.  VI. 

1123.  A  concert.     S.  VI. 

1124.  Portrait   of   Alof   of   Wignacourt,  Grand   Mas- 

ter of  Malta.     S.  VI. 

Axgeli  (Filippo).     1600-1660.     Roman. 

1126.  A  satyr  and  peasant.     S.  IX. 

Axgeli  (Giuseppe).     1715(?)-1795(.').     Venetian.  '■ 

1127.  The  little  drummer  boy.     S.  VI. 

273 


274  PAINTINGS  OF  THE   LOUVRE 

I'AdE 

Sano  1)1  PiiCTUO.     1405-1481.     Sienese 18 

11^28.     Dream  of  St.  Jerome.     S.  VII. 

ll'ii).     St.  Jerome  kneeling  in  the  desert.     S.  VII. 

ll.'U).     Legend  of  St.  Jerome.     S.  VII. 

ll.'H.     Death  of  St.  Jerome.     S.  VII. 

\V,V2.     Apparition  of  St.  Jerome  to  two  persons.    S.  VII. 

Anselmi  (Michelangelo).     14i)l-l.j.54.     Of  Parma. 

1133.  The  Virgin  between  St.  John  and  St.  Stephen. 

S.  VI. 

Ansi^ino   (Attributed  to). 

1133a.  The  Adoration  of  the  Magi.     S.  VI. 

Messixa  (Antonello  da).     1444(?)-1493.     Venetian     .        70 

1 134.  The  portrait  of  a  man  called  the  Condottiere. 

S.  VI. 

GioRGioNE  (Giorgio  Barbarelli).     1478-1510.     Vene- 
tian         1(51 

113.5.     The  Holy  Family.     S.  VI. 
1136.     A  pastoral  concert.     S.  IV. 

GuERCHiNO  (Giovanni  Fr.^ncesco  Barbieri). 

1590-1660.     Bolognese 219 

1139.     The  resurrection  of  Lazarus.     S.  VI. 

1142.  St.  Benedict  and  St.  Francis  of  Assisi.     S.  VI. 

1143.  The  protecting  Saints    of  the  city  of    Modena. 

S.  IV. 

1147.  Circe.     S.  VI. 

1148.  Portrait  of  himself.     S.  XV. 

Barocci  (Federigo).     1528-1602.      Of  Parma     ...     206 

1149.  The  circumcision.     S.  VI. 

1150.  The  Virgin  in  glory  with  St.  Lucia  and  St.  An- 

thony.    S.  IV. 


INDEX   OF   PAINTINGS  275 

PAGE 

Fredi  (Bartolo  di  Maestro).     1330-1410.     Sienese      .       16 

1151.  The  Presentation  in  the  Temple.     S.  VII. 

Bartolo  (Taddeo  di).     1363-14^2^2.     Sienese        ...        18 

1152.  St.  Peter.     S.  VII. 

Bartolommeo  (Fra),  called  Baccio  della  Porta.  1475- 

1517.     Florentine 147 

1153.  The  annunciation.     S.  VI. 

1154.  The  Mystic  Marriage  of  St.  Catherine.     S.  VI. 

Bellini  (Gentile).     1426-1507.     Venetian     ....       72 

1156.  Portrait  of  two  men.     S.  VI. 

School  of  Gentile 73 

1157.  The  Reception    of    a  Venetian  Ambassador    at 

Cairo.     S.  VI. 

Bellini  (Giovanni).     1428-1516.     Venetian  ....       73 

1158.  The  Virgin  and  Child  between  St.  Peter  and  St. 

Sebastian.     S.  VI. 
1158a.  Portrait  of  a  man.     S.  VI. 

School  of  Giovanni         75 

1159.  The  Virgin  and  Child  with  St.  Sebastian.     S.  VI. 

Berrettini,    called    Pietro    da    Cortona.     1596-1669. 

Florentine         231 

1160.  Alliance  of  Jacob  and  Laban.     Escalier  Henri 

IV,  I®'"  etage. 

1163.  The  Virgin  and  Child.     S.  VI. 

1164.  The  Holy  Family.     Salles  des  Dessins. 

Bl^nchi  (Francesco).     1447-1510.     Of  Ferrara        .      .     201 

1167.  The  Virgin  and  Child  with  St.  Quentin  and  St. 

Benedict.     S.  VI. 

BoccAccixo  (Boccaccio).     1460-1518.     Of  Cremona      .     200 

1168.  The  Holy  Family.     S.  VI. 


'JTci  rAINTINCJS    OF    TIIK    LOIVKK 

l'A<iE 


IJoLTUAFFio  (CiiovANNi  Antomo).       1  KIT  1 ."» 1  (i.      ^^ila- 

nose 

1  l(i!).     The  \'iririii  of  the  Casio  Faniily.     S.  \l. 


m 


2   X 

a 


IJo.Mi  AZio  II  Veronkse.      1  4!)4-1.'5oo.     Ycnefiaii         .      .      179 

1170.  Rosurroction  of  Lazarus.     Sallcs  dcs  Dossins. 

1171.  The  Vir<,Mii  and  Child  with  Saints.     S.  VI. 

117^2.      The   Vir<,'iii   and   Child   with   St.   Af,Mies  and  St. 

Catherine.     S.  VI. 
Noiiuini>cr.  The  Vir<jin  and  Infant  Jesus  adored  l)ySt.  John, 

St.  Paul,  St.  Jo.seph  and  St.  Insula.      S.  VI.       ^  „ 
N() number.  Christ    and    the   adulterous   woman.     Salle  des      3x 

Dessins. 

BoNONi    (BARToi.f)MMEo).     Commencement  of  XVI  Cen- 
tury-    Lombard 86 

1174.  The  Virgin  and  Child.     S.  VI. 

BoNViciNO  (Alessandho)  called  11  Aloretto.      llDS-l.l.i."). 

Venetian 200 

1175.  St.  Bernard  of  Siena  and  St.  Louis,  Bishop  of 

Toulou.se.     S.  VI.  • 

117(>.     St.    Bonaventure    and    St.    Anthony    of   Pachia. 
S.  VI. 

BoRDONE  (Paris).     1500-1570.     Venetian        ....      177 
117S.     Vertumnius  and  Pomona.     S.  VI. 
117!).     Portrait  of  Jerome  Crofft.     S.  IV. 
IISO.     Phihp  II  and  his  tutor.     S.  VI. 
1180a.  Portrait  of  a  woman.     S.  VI. 

BoRGOGNONE  (Ambrogio).     1450-1523.     Lombard     .      .       85 
1181.     Presentation  in  the  Temple.     S.  VI. 
118'2.     St.  Peter  of  Verona  and  an  unknown  woman. 

S.  VI. 
1182a.  St.  Augustine  and  a  donor.     S.  VI. 


INDEX   OF   PAINTINGS  277 

PAGE 

Bronzing  (Agnolo  di  Cosimo).     1502-1572.     Florentine     156 
1183a.  The  Holy  Family.     S.  VI. 

1184.  Portrait  of  a  sculptor.     S.  VI. 

Calcar  (Giovanni  Stefano).     1510(?)-1546.     Venetian     177 

1185.  Portrait  of  a  young  man.     S.  VI. 

Veronese  (Paolo  Caliari).     1528-1588.     Venetian        .      187 

1187.  The  burning  of  Sodom.     S.  VI. 

1188.  Susanna  and  the  Elders.     S.  VI. 

1189.  Esther  before  Ahasuerus.     S.  VI. 

1190.  The  Holy  Family.     S.  IV. 

1191.  The  Holy  Family.     S.  VI. 

1191a.  Jesus  healing  Peter's  wife's  mother.     S.  VI. 

1192.  The  wedding  feast  of  Cana.     S.  IV. 

1193.  The  Repast  at  the  house  of  Simon.     S.  IV. 

1194.  The  Saviour  succumbing  under  the  weight  of  the 

cross.     S.  VI. 

1195.  Calvary.     S.  VI. 

1196.  Pilgrims  of  Emmaus.     S.  VI. 

1197.  St.    j\Iark    crowning    the    Theological    Virtues. 

S.  VI. 

1198.  Jupiter  hurling  a  thunderbolt  at  Crime.     S.  IV. 

1199.  Portrait  of  a  young  woman  and  child.     S.  VI. 

Attriblted  to  Veronese .198 

1200.  Christ  holding  the  globe  of  the  world.     S.  I. 

School  of  Veronese 198 

1201.  Portrait  of  a  young  woman.     S.  VI. 

Campi  (Bernardino).     1522-1592.     Of  Cremona      .      .     200 

1202.  Mater  Dolorosa.     S.  VI. 

Canaletto    (Antonio   Canale).     1697-1768.     Venetian     235 

1203.  View  of  the  church  of  the  Madonna  della  Salute. 

S.  VI. 


278  TAIXTINGS   OF  THE   LOUVRE 

PAOE 

Cantarim    (Simone),   called   II  Pesarese.     1612-1G48. 

Bolognese  220 

1207.     The  Holy  Family.     S.  IX. 
120S.     The  Holy  Family.     S.  IX. 

CARni  (LiDOVico),  called  CiGOLi.    1.").39-1()1.'5.    Florentine     2;50 
1209.     Flight  into  Egypt.     S.  IX. 

Cahpaccio  (Vittore).     (?)-1.518(?).     Venetian         .        7.5 

1211.     The    preaching    of    St.    Stephen    at    Jerusalem. 
S.  VI. 

CARRArn  (Axxirai.k).     1.300-1  (iOi).     Bolognese    .      .      .      209 

1217.  The  Virgin  of  the  cherries.     S.  \l. 

1218.  The  sleeping  Infant  Jesus,  or  the  Silence  of  Car- 

racci.     S.  IX. 

1219.  The  Virgin  appearing  to  St.  Luke  and  St.  Cath- 

erine.    S.  IV. 

1221.  The  dead   Christ  on   the  knees  of  the  Virgin. 

S.  IV. 

1222.  The  Entombment.     S.  IX. 
12;52.     The  fishing.     S.  VI. 
1233.     The  hunt.     S.  VI. 

C.\RRACCi  (AxTOXio,  nephew  of  Annibale).     1.583-1018. 

Bolognese  212 

12.35.     The  Deluge.     S.  VI. 

C.A.RRUCCI   (Jacopo),    called    II  Poxtormo.     1493-1.5.57. 

Florentine  1.54 

1240.  The  Holy  Family.     S.  VI. 

1241.  Portrait  of  an  engraver  of  precious  stones.     S.  VI. 

School  of  Carrxcci         155 

1242.  "The  Visitation."     S.  IV. 

Castelli  (Vai.erio).     1025-1059.     Genoese.         .      .      .     232 
1249.     The  smiting  of  the  rock  by  Moses.     S.  I. 


INDEX   OF   PAINTINGS  279 

PAGE 

Castiglione  (Giovanni  Benedetto).    1G16-1670.    Gen- 
oese         232 

1250.  Melchisedec  and  Abraham.     S.  IX. 

1251.  Expulsion    of    the    Money-C hangers    from    the 

Temple.     S.  IX. 

1252.  Animals  and  utensils.     S.  IX. 

Catena  (Vincenzo  di  Biggio).    1475-1531.    Venetian. 
1252a.  Portrait  of  a  man.     S.  VI. 

Cerquozzi  (Michelangelo).     1602-l(!(i(».     Roman  .      .     228 

1254.  Fruit  on  a  table.     S.  I. 

1255.  Fruit  on  a  table.     S.  I. 

Cesari  (GirsEPPE).     1560-1G40.     Neapolitan       ...      209 
1257.     Diana  and  Acta^on.     S.  IX. 

CiMA  DA  CONEGLIANO    (GlOVANXI    BaTI  ISTa)  .        (  ?)- 

1517(.=').     Venetian 76 

1259.  The  Virgin  and  Infant  Jesus.     S.  VI. 

CiMABUE  (Giovanni).     1240-1302(  ?).     Florentine     .      .         3 

1260.  The  Virgin  and  Child.     S.  VII. 

Costa  (Lorenzo).     1460-1535.     Of  Ferrara    ....       89 

1261.  The  court  of  Isabella  of  Este.     S.  VI. 

Credi  (Lorenzo  di).     1459-1537.     Florentine      ...        39 

1263.  The  Virgin  and  Child  with  St.  Julian  and  St. 

Nicholas.     S.  VII. 

1264.  Noli  me  tangere.     S.  VI. 

Crespi  (Giuseppe  ]VL\ria).     1665-1747.     Bolognese       .     220 
1266.     A  school.     S.  IX. 

Crivelli  (Carlo).     1430-1493.     Venetian       ....       69 
1268.     St.  Bernard.     S.  VI. 

DoNDUcci  (Giovanni  Andrea).    1575-1655.    Bolognese      220 
1271.     Christ  and  the  Virgin  appearing  to  St.  Francis. 
S.  IX. 


280  TAINTINGS   OF   THE    LOUVRE 

PAGE 

UccELLO  (Paoix)  di  Dono).     1397-1475.     Florentine  26 

127'-2.     Portraits  of  Giotto,  Uccello,  Donatello,  Brunel- 
leschi  and  Manetti.     S.  VII. 

1273.     A  battle.     S.  VII. 
Atthibuted  to  Uccello 269 

127i.     St.  John  the  Baptist.     S.  VI. 
Fabuiano  (Gentile  da).     137()(?)-14o0.     Of   Fabriano      135 

1278.     The  presentation  in  the  Temple.     S.  VII. 

127!).     Pandolfo  Malatesta  praying  to  the  Virgin.     S. 
VII. 
School  of  Fabriano        57 

1280.  The  eircuinoision.     The  marriage  of  the  Virgin. 
The  presentation  of  the  Virgin  in   the  Temple. 

S.  VII. 

1281.  The  flight  into  Egypt.     The  visitation. 

The  presentation  of  the  Virgin   in  the  Temple. 
S.  VII. 

1282.  The   angel    appearing    to  St.  Joachim.     Christ 

disputing  with  the  Elders.     The  birth  of  the 
Virgin.     S.  VII. 

1283.  The  nativity.     St.  Joseph  and  the  High  Priest. 

The  circumcision.     S.  VII. 
Pictures  in  three  parts. 

Fasoli,   called    Lorenzo    di    Pavia.     (?)-1520(?). 

Lombard 86 

1284.  The  family  of  the  Holy  Virgin.     S.  VI. 

Ferrari  (Gaudenzio).     1471(.')-1546.     Milanese     .      ,      121 

1285.  St.  Paul.     S.  VI. 

Feti  (Domenico).     1589-1624.     Roman     .      .      .      .      .228 

1286.  Nero.     S.  VI. 

1287.  Life  in  the  country.     S.  IX. 

1288.  Melancholy.     S.  VI. 

1289.  The  guardian  angel.     S.  VI. 


INDEX   OF   PAINTINGS  281 

PAGE 

Angelico    (Fra),  Giovanni    da    Fiesole.     1387-1455. 

Sienese 20 

1^290.     The  Coronation  of  the  Virgin.     S.  VII. 

1291.     The  beheading  of  St.  John  the  Baptist.     S.  VII. 

1293.     The  martyrdom  of  St.  Cosmo  and  St.  Damian. 

S.  VII. 
1294a.  The  resurrection.     S.  VII. 

Botticelli  (Sandro  Filipepi).     144G-1510.     Florentine       40 
1295.     The  Virgin  writing  the  Magnificat.     S.  VII. 
129G.     The    Virgin,    the    Infant    Jesus    and    St.    John. 
S.  VII. 

1297.  Giovanna  Albizzi    and  the  Three  Graces. 
Frescos  from  the  Villa  Lemmi    near    Florence. 

Escalier  Daru. 

School  of  Botticelli 44 

1298.  Lorenzo  Tornabuoni  and  the  Liberal  Arts.     Es- 

calier Daru. 

1299.  The  reposing  Venus.     S.  VII. 

1300.  A  fragment  of  a  predella.     S.  VII. 
1300a.  The  Virgin  and  Child.     S.  VII. 

Francesca  (Piero  della).     1423-1492.     Umbro-Floren- 

tine 36 

1300b.  The  Virgin  and  Child.     S.  VII. 

Gaddi  (Agnolo  m  Taddeo).    1343-1396.    Florentine     .        11 

1301.  The  annunciation.     S.  VII. 

Gaddi  (Taddeo).     1300-1366(.5).     Florentine      ...        10 

1302.  The  banquet  of  Herod.     The  crucifixion.     The 

Martyrdom  of  a  Saint.    A  predella.    S.  VII. 

Garbo  (Raffaellino  del).     1466-1524.     Florentine      .      145 

1303.  The  coronation  of  the  Virgin.     S.  VI. 


282  PAINTINGS  OF  THE   LOUVRE 

PAGE 

Giordano  (Luca).     1632-1705.     Neapolitan   ....     229 

1;H)5.  Mars  and  Venus.     S.  IX. 

1. '{()().  The  (lance  of  the  cupids.     S.  I. 

i;{()7.  The  hunting  Diana.     S.  I. 

i;i08.  The  marriage  of  the  Virgin.     S.  I. 

i;{0!).  The  adoration  of  the  .she})herds.     S.  I. 

l.'HO.  Tarquin  and  Lucretia.     S.  I. 

1311.  The  death  of  Seneca.     S.  I. 

Giotto  di  Bondone.     1 270-1 3.'57.     Florentine      ...         6 

1312.  St.    Francis    of    Assisi    receiving    the    stigmata. 

S.  VII. 
School  of  Giotto 9 

1313.  The  funeral  of  St.  Bernard.     S.  VII. 
13U.     The  Virgin  and  Child  and  Saints.     S.  VII. 
131.5.     The  Virgin  and  Child.     S.  MI. 

131().     The  Virgin  and  Child.     S.  VII. 

1317.  The  birth  of  St.  John  the  Baptist.     S.  VII. 

LiuHi  (GiROLAMO  DAi).     1474-1550.     Of  Verona       .      .       84 

1318.  The  Mrgin  and  Child.     S.  VI. 

GozzoLi  (Benozzo)  di  Lese  di  Sandro.     1424-after  1490. 

Florentine   . 32 

1319.  The  triumph  of  St.  Thomas  Aquinas.     S.  VII. 

Attributed  to  Gozzoli 32 

1320.  The  Virgin  surrounded  by  Saints.     Predella  and 

side  pictures.     S.  VII. 

Ghirlandajo  (Domenico  Grillandajo).     1449-1494. 

Florentine 45 

1321.  The  visitation.     S.  VII. 

1322.  Portrait  of  an  old  man  and  child.     S.  VII. 

Ghirlandajo   (Benedetto  Grillandajo).     1458-1497. 

Florentine .        49 

1323.  Christ  on  the  way  to  Calvary.     S.  VII. 


INDEX   OF   PAINTINGS  283 

PAGE 

Grillandajo  (Ridolfo).     1483-1561.     Florentine     .      .      156 
1324.     The  coronation  of  the  Virgin.     S.  VI. 

Grimaldi  (Giov.vxni  Fraxcesco)  called  II  Bolognese. 

1606-1680.     Bolognese 220 

1327.  The  washerwomen.     S.  IX. 

GuARDi  (Francesco).     1712-1793.     Venetian       ...     236 

1328.  Embarking   of    the    Doge    on    the    Bucentaur. 

s.  ^^. 

1329.  Church  of  Santa  Maria  della  Salute  at  Venice. 

S.  VI. 

1330.  A  feast  day  on  the  Piazzetta.     S.  VI. 

1331.  The  feast  day  of  Corpus  Christi.     S.  VI. 

1332.  Procession    of   the   Doge   to  the  Church    of  St. 

Zacharias.     S.  VI. 

1333.  Hall    of    the    college    at    the  Ducal    Palace    in 

Venice.     S.  VI. 

1334.  The  coronation  of  the  Doge  of  Venice.     S.  VI. 

1335.  View  of  the  Church  della  Salute.     S.  I. 

Laxfraxco  (Giovaxxi).     1581-1647.     Lombard. 

1336.  Hagar  in  the  desert.     S.  IX. 

Lauri  (Filippo).     1623-1694.     Roman. 

1340.     Ecstasy  of  St.  Francis  of  Assisi.     S.  IX. 

LiPPi  (Fra  Filippo).     1406P-1469.     Florentine    ...       27 

1343.  The  nativity.     S.  VII. 

1344.  The  Virgin  and  Infant  Jesus.     S.  YU.   ...      184 

Lorexzo  Moxaco   (Dox)   di  Giovaxxi.    1370-1 425(?). 

Florentine 19 

1348.     Picture  in  three  parts.     S.  VII. 
1348a.  The  Prayer  in  the  Garden  of  Olives.   Picture  in 
two  parts.     S.  VII. 


iiSl  rAINTINGS   OF   THE    LOl  VUK 

PAGE 

LoiTO  (LoHENZo).     1180(?)-1555.     Venetian        ...      158 
l.Tl!).     Christ  and  the  woman  taken  in  adultery.     S.  VI. 
l;{.">().     St.  Jerome  in  the  desert.     S.  VI. 
l3o\.     The  Holy  Family.     S.  VI. 

LuciA.NO,  called  SEn.vsTiANO  del  Piombo.     llH.j-l.'iiT  1  l.'J 

1.S52.     The  visitation.     S.  VI. 

LuiNi  (BEKVARniNo).     1475(  .>)-15'5.'J(  .>).     Milanese  .      .      Ill 
1:5.5:5.     The  Holy  Family.     S.  VI. 
i:5.54.     The  .sleeping  Infant  Jesus.     S.  IV. 
I'.ioo.     Salome  receiving  the  head  of  John  the  Haptist. 

S.  VI. 
i:5.5fi.     The  forge  of  Vulcan.     S.  VI. 
l:5."»7.     Child  seated  under  a  trellis.         S.  V. 
1358.     Child  on  his  knees  under  a  trellis. 

S.  V. 
l.'}5{).     The  nativity.     S.  V. 
i:5(i().     The  adoration  of  the  Magi.     S.  V. 
l;5()l.     Christ  in  the  act  of  giving  His  blessing.     S.  V. 
i:5()2.     Head    of    a    young    girl     personifying     silence. 

S.  VI.  . 

School  of  Liini .      .      .      11(> 

i;5():5.     The  annunciation.     S.  V. 

i:5()l.     A  dead  Christ  surrounded  with  instruments  of 

the  Passion.     S.  V. 
i:5(i5.     Curius  Dentatus  refusing  the  gifts  of  the  Sam- 

nites.     S.  V. 

Mainardi  (Bastl\no).     1470-1513(?).     Florentine    .      .       49 

1367.  The  Virgin  and  Child.     S.  VII. 

Attributed  to  Mainardi 49 

13G7A.  The  Virgin  and  Infant  Jesus.     S.  VII. 

Manfredi  (Bartolommeo).     1580-1617.     Lombard       .      227 

1368.  A  woman  fortune-teller.     S.  VI. 


INDEX   OF    PAINTINGS  285 

I'AGK 

Manni   (Giannicola   in  Paolo).     (?)-1544.     Of 

Perugia 67 

13G9.     The  baptism  of  Christ.     S.  VI. 

1370.  The  assumption.     S.  VI. 

1371.  The  adoration  of  the  Magi.     S.  VII. 
137'2.     The  Virgin  in  glory.     S.  VI. 

Mantegna  (Andrea).     1431-IjOG.     Of  Mantua.      .      .       77 
1373.     Calvary.     S.  VI. 
1371.     The  Virgin  of  the  victory.     S.  VI. 

1375.  Parnassus.     S.  VI. 

1376.  The  victory  of  Virtue  over  Vice.     S.  VI. 

Maratta  (Carlo).     16'-25-1713.     Roman 2'-20 

1379.  Mary  Magdalene  Rospigliosi.     S.  IX. 

1380.  Portrait  of  himself.     S.  XV. 

Marchesi    (Girolamo  da  Cotignola).      1480(?)-1550. 

Bolognese  96 

1381.  Christ  carrving  the  cross.     S.  IX. 

Oggioxo  (Marco  da).     1470-1530.     Milanese      .      .      .      110 

1382.  The  Holy  Family.     S.  VI. 
1382a.  The  Virgin  and  Child.     S.  VI. 

Memmi  (Simone  di  Martini).     128.3-1.344.     Sienese        .        14 

1383.  The  march  to  Calvary.     S.  VII. 

Massone  (Giovanni).     End  of  XV  Century.     Piedmon- 

tese 96 

1384.  The  Nativity,  with   Pope   Sixtus    and   Cardinal 

Giuliano   della  Rovera.     An  altar  screen    in 
three  parts.     S.  VI. 

]VL\zzoL.\  (Francesco),  called  II  Parmigianino.     1504- 

1540.     Of  Parma 206 

1385.  The  Holy  Family.     S.  IX. 

1386.  The  Holy  Family  with  saints.     S.  IX. 


286  TAIXTINGS   OK  THK   LOUVRE 

PACE 

Mazzolini  (Litdovico).     1480-1528(?).     OfForrara. 
1388.     Christ  prcachiiipj  to  the  iimllitude.     S.  \l. 

MONTAGXA  (BaRTOLOMMEo).      (  ?)-1.52.'5(  ?)       Of 

Vicenza 8'5 

l.'l!)3.     Ecce  Homo.     S.  VI. 

l.'$!)l.     Three  young  musicians.     S.  VI. 

Moroni  (Giovanni  B.\ttista).     1.V2.5-1.578.     Of  Brescia    200 
\3d5.     Portrait  of  an  old  man.      S.  \'I. 

MuziANO  (GiHOLA.M<j).     1.5.'U)(  .')-l.>!)'-2.     Roman. 
l.'JOG.     Christ  and  St.  Thomas.     S.  VI. 

Neri  ni  Bicci.     1419-1491.     Fh^rentine 24 

l.'i97.     The  Virgin  and  Chihi.     S.  MI. 

Palma  Vecchio  (J.\copo).     14S0-1528.     Venetian      .      .      160 

1399.  The  annunciation  to  the  shepherds.     S.  VI. 

Palmeggiani  or  Palmezzaxo  (Marco).     14.36-after  ].yA7. 

Umbro-Florentine .50 

1400.  The  dead  Christ.     S.  VII. 

Panetti  (Domexico).     (?)-l.>12.     Of  Ferrara  .      .        91 

1401.  The  nativity.     S.  IX. 

Panini  (Giovanni  Paolo).     1091-1704.     Roman       .      .     2.33 

1403.  A  feast.     S.  IX. 

1404.  A  concert.     S.  IX. 

1408.  The  interior  of  St.  Peter's  at  Rome.     S.  VI. 

1409.  A  concert  in  Rome.     S.  VI. 

1411.  Antique  ruins.     S.  I. 

1412.  Ruins.     S.  I. 

Pellegrini  (Antonio).     1675-1741.     Venetian     .      .      .     235 

1413.  Allegory.     S.  VI. 


INDEX   OF    PAINTINGS  287 


PAGE 


Pesellino  (Francesco  Pesello    di    Stefano).     1422- 

1457.     Florentine 31 

1414.  The  stigmatisation  of  St.  Francis.     A  picture  in 

two  parts.     S.  VII. 

1415.  The    dead    Christ.     A    picture    in    three    parts. 

S.  VII. 

CosiMO  (PiERO  Di).     1402-1521  (.^).     Florentine    ...      145 
141(>.     The  coronation  of  the  Virgin.     S.  VI. 
141(>A.  The  triumph  of  Venus.     S.  VI. 
1416b.  The  wedding  of  Thetis  and  Peleus.     S.  VI. 

PiNTURiccHio  (Bernardino  DI  Betti  di  Biagio).     1454- 

irAii.     Of  Perugia (>4 

1417.  The  Virgin  and  Child,  St.  Gregory  and  another 

saint.     S.  VI. 

Romano  (Giulio  Pippi).     1492-154(5.     Boman     .      .      .      140 

1418.  The  nativity.     S.  VI. 

1420.  The  triumph  of  Titus  and  Vespasian.     S.  VI. 

1421.  Venus  and  Vulcan.     S.  IX. 

1422.  The  portrait  of  a  man.     S.  VI. 

PiSANELLo(ViTroREPisANo).    1380(  ?)-1451 .    Of  Vcroua.        53 
1422a.  The  portrait  of  a  Princess  of  Este.    Salle  VII. 

Bassano    (Jacopo    da    Ponte).     1510-1592.     Venetian.     186 

1423.  The  entrance  of  the  animals  into  the  ark.     S.  VI. 

1424.  The  smiting  of  the  Rock.     S.  VI. 

1425.  The  wedding  of  Cana.     S.  VI. 

1426.  The  carrying  of  the  cross.     S.  VI. 

1427.  The  descent  from  the  cross.     S.  IV. 

1428.  The  grape  gathering.     S.  VI. 

1429.  The  portrait  of  the  sculptor,  John  of  Bologna. 

S.  VI. 


288  PAINTINGS  OF   THE   LOUVRE 

I'AGK 

Hassaxo  (Lkanduo  da  Ponte).     1558-1(!2.'?.     Venetian.     187 
1  l.'U).     The  adoration  of  the  Magi.     S.  I. 
1431.     Rural  labour.     S.  I. 

Phimaticcio.     1490-1."»70.     Bolognese. 
U.'W.     A  concert.     S.  XI. 

FitANCiA(FRANCE.sco  Raibolim).   14.50-1.>17.    Bolognese.       91 

1435.  'I^hc  nativity.     S.  VI. 

1436.  Christ  on  the  cross.     S.  VI. 

School  of  Fuancia 9t 

1436a.  The    Virgin    and    Child    surrounded    hy    saints. 
S.  VII. 

1437.  The  Virgin  and  Child  with  a  hermit.     S.  VI. 

Bagnacavallo  (Bautolommeo  Ramenghi).     1 484-1. Vl-i. 
Of  Ferrara. 

1438.  The  circumcision.     S.  VI. 

Rem  (Guido).     1.57o-164^2.     Bolognese 213 

1439.  David  with  the  head  of  Goliath.     S.  VI. 

1447.  Ecce  Homo.     S.  IX. 

1448.  The  penitent  Mary  Magdalene.     S.  IX. 
1450.     St.  Sebastian.     S.  VI. 

1453.  Hercules  on  the  funeral  pile.     S.  IV. 

1454.  Rape  of  Dejanira  by  the  centaur  Xessus.     S.  IV. 

1455.  Hercules  and  Achelaus.     S.  IV. 

1457.  Hercules  and  the  serpent.     S.  IV. 

RicciorRizzi  (Sebastiano).     1660-1734.     Venetian       .     235 

1458.  Allegory.     S.  \T. 

1459.  Christ  giving  the  keys  to  St.  Peter.     S.  VI. 

1460.  Polyxena  sacrificing  to  the  shades  of  Achilles. 

S.  IX. 

1461.  The  continence  of  Scipio.     S.  IX. 


INDEX   OF   PAINTINGS  289 

PAGE 

VoLTERRA  (Daniele  da).     1509-156G.     Roman    .      .      .      143 
1462.     David  and  Goliath.     Painted  on  a  marble  tablet. 
S.  VI. 

Tintoretto  (Jacopo  Robisti).     1519-1594.       Venetian     180 

1464.  Susanna  after  the  bath.     S.  IV. 

1464a.  The  dead  Christ  with  two  angels.     S.  VI. 

1465.  Paradise.     S.  VI. 

1466.  Portrait  of  himself.     S.  XV. 

1467.  Portrait  of  a  man  with  a  handkerchief.     S.  VI. 

1468.  Susanna  in  the  bath.     S.  I. 

1469.  The  Virgin  and  Child  between  St.  Francis  and 

St.  Sebastian.     S.  I. 

1470.  Portrait  of  Pietro  Mocenigo.     S.  I. 

1471.  Portrait  of  a  Venetian  senator.     S.  I. 

1472.  Portrait  of  a  man.     S.  I. 

RoMANELLi  (Giovanni  Francesco).    1610-1662.    Floren- 
tine       231 

1476.  Venus  and  Adonis.     S.  I. 

Rosa  (Salvator).     1615-167.S.     Neapolitan     ....     227 

1477.  The  angel  and  Tobias.     S.  IX. 

1478.  The  a])parition  of  Samuel's  Ghost  to  Saul.  S.  VI. 

1479.  A  battle.     S.  VI. 

1480.  A  landscape.     S.  VI. 

RosELLi  (CosiMo)  Di  LoRKxzo  FiLipPO.     Attributed  by 

Mahler  to  Verrocchio.    14,39-1507.   Florentine.       38 

1482.  The  Virgin  in  glory.     S.  VII. 

RosELLi  (Matteo).     1578-1650.     Florentine  ....      230 

1483.  The  triumph  of  David.     S.  IX. 

Rosso  (Giovanni  Battista).     1496(  ?)-1541.     Florentine. 

1485.  Pieta.     S.  XI. 

1486.  The  challenge  of  the  Pierides.     S.  IX. 


2!)()  PAINTINGS   OF   TIIK    LOUVHK 

yxc.K 

SacCMI    (I'lKHO  FUANCESCO)    1)1   P.W  I.V.      AflcF   1.V27.      LolU- 

hani 88 

118S.     Four  fathers  of  tin-  Church.     S.  VI. 

Sassoferuato  (Giovanni  Haitista  Salvi).     1  (50.5-1685. 

Iloman  (?) 221 

1493.     The  Holy  Fainik.     (Copy  of  Raphael.)     S.  IX. 
149.3.     The  annunciation.     (Copy  of  le  Broche.)     S.  VI. 

llAi'iiAKL  Sanzio.     U8:5-1.V>(».      lloiuau 122 

1490.     La  Belle  Jardiniere.     S.  IV. 

1497.  The  Virgin  of  the  blue  diadem.     S.  VI. 

1498.  The  Holy  Family  of  Francis  I.     S.  IV. 

1499.  The  little  Holy  Family.     S.  VI. 

1000.  St.  John  the  Baptist  in  the  desert.     S.  VI. 

1001.  St.  Margaret.     S.  VI. 

l')0-l.  St.  Michael  and  the  dragon.     S.  VI. 

1.")0.'5.  St.  George  and  the  dragon.     S.  VI. 

l.)04.  St.  ^Michael  overthrowing  Satan.     S.  IV. 

1.50,5.  Portrait  of  Baltliazar  Castiglione.     S.  IV. 

1.50(5.  Portrait  of  a  young  man.     S.  VI. 

1507.  Portrait  of  Jeanne  of  Aragon.     S.  VI. 

1508.  Portrait  of  two  men.     S.  VI. 

Attributed  to  Raphael 126 

1509.  Apollo  and  Marsyas.     S.  VI. 
1509a.  Head  of  St.  Elizabeth.     S.  VI. 

School  of  Raphael •     1^7 

1510.  Abundance.     S.  VI. 

1511.  St.  Catherine  of  Alexandria.     S.  VI. 

1512.  The  Magliana.     A  fresco.     S.  VII. 

Copy  of  Raphael 1^^ 

1513a.  The  vision  of  Ezekiel.     S.  VI. 
1513b.  The  Madonna  and  Child.     S.  VI. 


\ 


INDEX   OF   PAINTINGS  291 

PAGE 

Sarto  (Axdkea  del).     1480-1531.     Florentine     .      .      .      153 
15  U.     Charity.     S.  VI. 

1515.  The  Holy  Family.     S.  VI. 

1516.  The  Holv  Family.     S.  VI. 

1516a.   Portrait  of  the  advocate  Fausti.     S.  VT. 

1517.  The  Annunciation.     S.  VI. 

Savoldo  (Giovanni  GiKOL.oio).   -(?)-after  1548.    Of 

Brescia 200 

1518.  Portrait  of  Gaston  of  Foix.     S.  VI. 

1519.  Portrait  of  a  man.     S.  VI. 

ScHiAVONE  (Gregorio).     1440-147().     Venetian   ...        86 

1523.  The  Virgin  and  Child.     Attributed  to  him.     S. 

VI. 

ScHiAVONE  (Andrea  Meldola).     1522-1582.     Venetian. 

1524.  St.  John  the  Baptist.     S.  VI. 

SiGNORELLi  (Luca).     1441-1523.     Florentine  ....        51 

1525.  The  birth  of  the  Virgin.     S.  VII. 

1526.  The  adoration  of  the  Magi.     S.  VI. 

1527.  Fragments  of  a  composition  called  "Seven  per- 

sons standing."     S.  VII. 

1528.  The  Virgin  and  Child.     S.  VII. 

SoLARio  (Andrea).     1460(  ?)-1530(  ?).     Milanese       .      .      112 

1530.  The  Virgin  of  the  green  cushion.     S.  VI. 

1531.  Portrait  of  Charles  of  Amboise.     S.  VI. 

1532.  The  crucifixion.     S.  VI. 

1533.  The  head  of  St.  John  the  Baptist  on  a  charger. 

S.  VI. 

Spada  (Lionello).     1576-1622.     Bolognese     ....     220 

1537.  -Eneas    and    Anchises.      Palier    Henri     II,   I*^' 

etage. 

1538.  The  concert.     S.  R^ 


2f)2  I'AINIINdS   OF   TlIK   LOUVUE 

PAiiK 

SrACJNA    (CiiovAwi    Di    Piirruo).     ( ?)-l.'5S0(  ?).     Of 

I'lTii^ia (Hi 

\:>W.     Tlic  \ir^'iii  aii.l  Cliil.l.     S.  \"I. 

Stki'hano  Venkziano.     Fourteenth  ("entiiry. 
1541.     The  Vir<,'iii  and  Clnl.l.     S.  VII. 

Bramantino  (Bautolommeo  Si  audi).     (?)-15.'?0. 

Loinbanl H(i 

1545.     The  circumcision.     S.  VI. 

TiEPOLO  (Giambattista).     1096-1770.     Venetian      .      .     2.'}7 

1547.  The  la.st  supper.     S.  W. 

1548.  The  Holy  \  irfjjin  appeariiifi;  to  St.  Jerome.     S.  I. 
154!).     A  banner,  on  one  side  of  which  are  the  Virn;in 

and  Child  with  St.  John,  and.  on  the  other,  St. 
INIartin  saying  mass.     S.  VI. 
Ko  miiiiiier.  Sketch  for  a  ceiling.    S.  VI. 

Tisi  (Benvenuto)  called  II  Garoialo.    1481-1550.     Of 

Ferrara '201 

1553.     The  sleeping  Infant  Jesus.     S.  IX. 

Trevisani  (Francesco).     1050-1740.     Venetian  .      .      .     2.35 

1555.  The  sleeping  Infant  Jesus.     S.  VI. 

TuRA  (Cosmo),  called  II  Cosme.     1432-1495.    Of  Fer- 
rara         87 

1556.  Pieta.     S.  VI. 

1557.  Portrait  of  a  .saint.     S.  VI. 

TuRCHi  (Ale.ssandro),  called  II  Orbetto.     1582-1648. 

Venetian 234 

1558.  Sam.son  and  Delilah.     S.  VI. 

1559.  The  atlulterous  woman.     S.  IX. 
1500.     The  death  of  Cleopatra.     S.  IX. 

Vaxni  (Francf^sco).     End  of  XIV  Century.     Sienese. 
1502.     The  martyrdom  of  St.  Irene.     S.  IX. 


INDEX   OF   PAINTINGS  293 

PAGE 

Vanni  (Turing).     End  of  XlVth  Century.     Sienese  .      .        16 
lo(J3.     The  Virgin  and  Child.     S.  VII. 


'O 


Perugixo  (PiETRO  Vaxxucci).     144G-15;24.     Of  Terugia       oS 
loGi.     The  Virgin  and  Child.     S.  VI. 
1J6.3.     The  Holy  Family.     S.  VI. 
1566.     St.  Paul.     S.  VII. 
1o66a.  St.  Sebastian.     S.  VI. 
15G7.     The  Combat  between  Love  and  Chastity.    S.  VI. 

School  of  Perugixo 64 

1J68.     The  dead  Christ.     S.  VI. 

lo6!).     The  stigmatisation  of  St.  Francis  of  Assisi.  S.  VI. 

Io70.     St.  Jerome  in  the  desert.     S.  VI. 

1j71.     .Judgment  of  Solomon.     S.  VI. 

1.57-2.     Judgment  of  Daniel.     S.  ^  I. 

1.j7;5.     The  Virgin  and  Child.     S.  VI. 

1j73a.  The  Mrgin  and  Child.     S.  VII. 

Varotari  (Alkssaxdro),  called  II  Padovaxixo.     l.rM- 

16.50.     Venetian 235 

1574.  Venus  and  Cupid.     S.  VI. 

Vecchia  (Pietro  della).     1605-1678.     Venetian. 

1576.  Portrait  of  a  man.     S.  VI. 

Titian  (Tiziaxo  Vecelli).     1477-1576.     Venetian    .      .      164 

1577.  The  Virgin  and  Child,  adored  by  saints.     S.  VI. 

1575.  The  Virgin  of  the  rabbit.     S.  VI. 

1579.  The  Holy  Family.     S.  VI. 

1580.  The    Holy    Family,  or  The   repast  during  the 

flight.     S.  VI. 

1581.  The  Pilgrims  of  Emmaus.     S.  VI. 

1582.  Christ  on  the  way  to  Calvary.     S.  VI. 

1583.  Christ  crowned  with  thorns.     S.  IV. 

1584.  The  entombment.     S.  IV. 


294.  PAINTINGS   OF  THE   LOUVRE 

I'ACiE 

Titian  (Continued). 

1585.  St.  Jerome.     S.  IV. 

l.>S(i.  The  coiuu-il  of  Trent.     S.  VI. 

1.5S7.  Jupiter  and  Antiope.     S.  VI. 

1.5SS.  Portrait  of  Franeis  I.     S.  IV.' 

I.jS!).  Alle<;jorv  in  honour  of  Alphonse  of  Avalos.     S.  VI. 

].■>!)().  Alphonso  of  Ferrara  and  Laura  Diaiili.     S.  IV. 

I.jOL  The  man  with  a  hand  on  his  hip.     S.  VI. 

1.5!)'2.  Tlie  man  wifli  a  glove.     S.  IV. 

1.31).'5.  Portrait  of  a  man.     S.  VI. 

School  of  Titian. 

1.5!)(».     The  Holy  Family.     S.I. 

LlONAUDO  DA  ViNfT.      li.5'-2-l.')l!).      Florentine        ...         98 

1597.  St.  John  the  Baptist.     S.  VI. 

1598.  The    ^'irgin,    the    Infant    Jesus    and    St.    Anne. 

S.  IV. 

1599.  The  Virgin  of  the  rocks.     S.  \\. 

IGOO.      La  belle  Ferroimiere,  now  considered  a  portrait 

of  Lucrezia  Crivelli.     S.  VI. 
KiOl.     La  Joconda,  a  portrait  of  Monua  Li.sa.    S.  1\'. 
laO'-l.     Bacchus.     S.  VI. 

Attributed  to  Lioxardo 99 

160'-2a.  The  annunciation.     S.  VI. 

1603.  A  copy  by  Oggiono  of  Lionardo's  "Last  Sup- 

per," in  ^Nlilan.     S.  VI. 
1G03a.   The  Virgin  and  Infant  Jesus.     A  Flemish  copy 
of  a  picture  by  an  imitator  of  Lionardo.   S.  VI. 

School  of  Lionardo 108 

1604.  The  Virgin  of  the  scales,  now  known  to  be  by 

Cesare  da  Sesto.     1481-15^21.     S.  VI. 

1605.  Portrait  of  a  woman.     S.  VI. 

1606.  The  Holy  Family.     S.  VI. 


INDEX   OF   PAINTINGS  295 

PAGE 

ViVARiNi  (Bartolommeo).     (?)-1500(?).      Venetian       69 

1()07.     St.  John  of  Capistran.     S.  VI. 

Zacchia,  Paolo,  called  II  Vecchio.     Commencement  of 

XVIth  Century.     Florentine 156 

1608.     Portrait  of  a  musician.     S.  VI. 

DoMiNiCHiNO   (Zampieri    Domenico).    1581-1641.    Bolo- 

gnese 216 

1618.  St.  Cecilia.     S.  VI. 

1614.     Combat    of    Hercules    and    Achelaus.     Escalier 
Henri  IV,  1*^'"  etage. 

1619.  Landscape.     Escalier  de  la  Direction. 


UNKNOWN  MASTERS  OF  THE  ITALIAN  SCHOOL 

Fourteenth  Century. 

1620.  The  Virgin  and  Child.     S.  VII. 

1621.  The   Virgin   surrounded   by   angels   and   saints. 

S.  VII. 

1622.  The  crucifixion.     S.  VII. 

1623.  The  coronation  of  the  Virgin.     S.  ^TI. 

End  of  Fourteenth  Century 

1624.  St.  Jerome.     S.  VII. 

1625.  St.  Peter  and  St.  Paul.     S.  VII. 

Fifteenth  Century. 

1628.  Vittorino  di  Feltre.     S.  VII. 

1629.  Pietro  Apponio.     Salles  des  Dessins. 

1630.  Dante.     S.  VII. 

1631.  St.  Jerome.     S.  VI. 

1632.  St.  Augustine.     S.  VII. 

1633.  St.  Thomas  Aquinas.     S.  VII. 


296  rAINTINGS   Ol'   THK   LOIVKE 

I'AGK 

FiprEEXTH  Century  (Continued). 
Um.     Virgil.     S.  VII. 
1G;Jj.     Solon.     Sallcs  dos  Dessins. 
ir»S7.     Plato.     Sallcs  des  l)f.s.sins. 
1(!;}S.     Aristotle.     Sallcs  des  Dessins. 
UitVJ.     Ptolemy.     S.  VII. 

1(540.     St.  Louis,  Bishop  of  Toulouse.     S.  VII. 
1«4()A.  The  rape  of  Europa.     S.  VI. 

Commencement  of  Sixteenth  Centiuy 13t 

1641.     Christ  carrying  the  cross.     S.  IX. 

1643.  The  Virgin  and  Child.     S.  VII. 

164:5a.  Esther  before  Ahasuerus.     S.  VII      .      .      .      .        89 

1644.  Portrait   of   a  young   man.     Now   attributed   to 

Francia  Bigio.     S.  IV l-J^' 

1645.  Portrait  of  a  man  in  arms.     S.  VI. 
1649.     Portrait  of  Michael  Angelo.     S.  XV. 

1651a.  Portrait    of    Fausti    (physician    of    the    Medi<-i 

family).     S.  VI 154 

Seventeenth  Century. 

1654.  Fruits  and  flowers.     S.  I. 

Florentine  School  of  the  Fourteenth   Century. 

1655.  Crucifix.     Form  of  the  cross.     S.  VII. 

Florentine  School  of  the  Fifteenth  Century. 

1656.  The  annunciation.     S.  VII. 
1656a.  Adoration  of  the  Magi.     S.  VII. 

1657.  The  Virgin  and  Child.     S.  VII. 

No  number.  The  Virgin  and  Child.     (A  fresco.)     S.  ^^I. 

1658.  St.  Jerome.     S.  VII. 

1659.  Miracle  of  St.  Nicholas  of  Bari.     S.  VII. 
1659a.  The  entrance  of  Pope  Martin  V  into  the  castle  of 

St.  Angelo.     S.  VII 25 


INDEX   OF   PAINTINGS 


PAGE 


Florentine  School  of  the  Fifteenth  Century  (Con.). 
1G60.     The  birth  of  the  Virgin.     S.  VII. 
1()()1.     The  Virgin,  Infant  Jesus,  and  four  saints.     S. 

VII. 
16(nA.  The  Virgin  and  Infant  Jesus.     S.  VII    ...        31 
IGG^A.  Scenes  in  the  history  of  Virginia.     S.  VII. 

16(53.     Portrait  of  a  man.     S.  VII 44 

1663a.  Portrait  of  a  man.     S.  VII. 

SiENESE  School  of  the  Fourteenth  Centitry         .      .        13 

1664.  The  mystic  marriage  of  St.  Catherine.     S.  VII. 

1665.  The  crucifixion.     S.  VII. 
1665a.  The  crucifixion.     S.  VII. 

1666.  The  Virgin  and  Child.     S.  VII. 

1667.  The  Virgin  and  ChiUL     The  nativity.     The  cru- 

cifixion.     A  trvpticli.     S.  VII. 

Bologne.se  School  at  End  of  Fij^eenth  Century. 

1668.  The  judgment  of  Paris.     S.  MI. 

Umbrian  School,  about  1500. 
1668a.  St.  Sebastian.     S.  VI. 

Venetian  School  of  the  Sixteenth  Century. 
1670.     Portrait  of  a  young  woman. 

1672.  Portrait  of  a  man.     S.  VI. 

1673.  Portrait  of  a  woman.     S.  VI. 

1674.  Portrait  of  a  man.     S.  I. 
1674a.  Herodias.     S.  VI. 

1674b.  Portrait  of  a  woman.     S.  \I. 
1674d.  Holy  Family  and  saints.     S.  VI. 
1674e.  The  Virgin  in  glory.     S.  VI. 

Milanese  School  of  the  Sixteenth  Century. 

1675.  A  nude  woman.     S.  I. 


Q9H  r.\IN"II\GS   OK   THK   LOUVUK 


I'AOE 


NoHTii  OF  Italy  School. 

167(!.  'I'he  amuHU'iation.  St.  Benedict  and  St.  Augus- 
tine. St.  Stephen,  a  deaeon,  and  St.  Angelo, 
a  eannclitc.     An  altar  screen.     S.  VI. 

1G7U.V.  The    Virgin    and    Child    adored   by   angels.     S. 

VI 69 

School  ok  Signohklli o'-2 

1C77.     Four  j)ersons  before  a  j)ortic(). 

School  of  Fehhaka  at  Commionckmknt  of  Sixteknth 

Century SI) 

1677a.  St.  Apollonia.     S.  VI. 
1677b.  St.  Michael.     S.  VI. 


SPANISH  SCHOOL 

Arellano  (Juan  de).     lGU-1676.     Of  Madrid    ...     265 

1701.  Flowers.     S.  VI. 

Carreno  de  Miranda  (Juan).    1614-1685.     Of  Madrid     '■255 

1702.  St.  Ambrose  distributing  alms.     S.  I. 

Collantes  (Francisco).     1599-1656.     Of  Madrid    .      .     265 

1703.  The  burning  bush.     S.  VI. 

Goya  yLucientes  (Francisco).    1746-1828.    Of  Madrid    266 

1704.  F.  Guillemardet,  Ambassador  of  the  French  Re- 

public to  Spain  in  1798.     S.  VI. 
1704a.  a  young  Spanish  woman.     S.  VI. 

1705.  A  young  Spanish  woman.     S.  VI. 

1705a.  Portrait  of  Don  Evaristo  Perez  de  Castro.    S.  VI. 

Herrera  (Francisco  de),  called  el  Viejo.     1576-1656. 

Of  Seville 241 

1706.  St.  Basil  dictating  his  doctrine.     S.  VI. 


INDEX   OF   PAINTINGS  299 

PAGE 

Morales   (Luis),    called    el  Divino.      1j09-1o86.      Of 

Toledo 239 

1707.  Christ  carrying  his  cross.     S.  VI. 

MuRiLLO  (Bartolome  Esteban).     1G17-1682.     Of    Se- 
ville         255 

1708.  The  immaculate  conception.     S.  VI. 

1709.  The  immaculate  conception.     S.  VI. 

1710.  The  birth  of  the  Virgin.     S.  VI. 

1711.  The  Virgin  in  glory.     S.  VI. 

1712.  The  Virgin  of  the  rosary.     S.  VI. 
171:5.     The  Holy  Family.     S.  VI. 

1714.  Christ  in  the  Garden  of  Olives.     S.  VI. 

171.5.  Christ  bound  to  the  pillar,  and  St.  Peter.    S.  VI. 

1710.  The  miracle  of  St.  Diego,  or  "  The  kitchen  of  the 
angels."     S.  VI. 

1717.  A  little  beggar  boy.     S.  VI. 

1718.  Portrait  of  the  poet  Quevedo.     S.  I. 

1719.  Portrait  of  the  Duke  of  Ossuna.     S.  I. 

Pereda  (Antonio).     1599-1669.     Of  Madrid       ...     265 

1720.  Fruits  and  musical  instruments.     S.  I. 

Ribera  (Jose  de),  called  el  Espagnoletto.    1588-1656. 

Of  Valencia  and  Naples 243 

1721.  Adoration  of  the  Shepherds.     S.  VI. 

1722.  The  entombment.     S.  VI. 

1723.  St.  Paul  as  a  hermit.     S.  VI. 

1724.  The  Virgin  and  Child.     S.  I. 

1725.  The  club  foot.     S.  I. 

Attributed  to  Ribera ,     .     .     .     245 

1725a.  The  entombment.     S.  VI. 

1726.  A  philosopher.     S.  I. 

1727.  A  philosopher.     S.  I. 

1728.  A  philosopher.     S.  I. 

1729.  A  philosopher.     S.  I. 


300  TAINTINGS   OF   THK    LOUVRE 

VACE 

Gheco   (el).    Theotocopuli    (Domenico).       1.548-1G':2.3, 

Of  Toledo 239 

IV^Da.  St.  Francis  and  a  novice.     S.  VI. 
No  iiiiiiilier.  Portrait  of  King  Kerdinaiul   of  Aragon.     S.  VI. 

TinsTAN  (Li'is).     I.WG-IOK).     Of  Toledo        ....      240 
17.'}().     St.  Francis  of  Assisi.     S.  VI. 

Velasquez  (Don  Diego  Rodriguez  de  Silva).     l."»!)i)- 

1(>()0.     Of  Seville         248 

17;?1.     Portrait  of  tlie  Infanta  Margarita  Maria.     S.  IV. 
17;52.     Portrait  of  Philip  IV  in  shooting  costnnie.  S.  VI. 

1733.  Portrait  of  Philip  IV.     S.  I. 

1734.  Assembly  of  artists  with  Velascjuez  and  ^Nlurillo 

on  the  left.     S.  VI. 

1735.  Portrait   of   the   Infanta   Dona   ^Nlaria  Theresa 

(afterwards    Queen  of  France).      S.  I.  " 
173(i.     Portrait  of  a  young  woman.     S.  I. 

1737.  Portrait   of   Don  Petlro   Moscoso   de    Altannra. 

S.  VI. 

Zurbaran  (Francisco).     1598-1()()2.     Of  Seville        .      .     242 

1738.  St.  Peter  Nolasco  before  St.  Raymond  of  Pena- 

fort.     S.  VI. 

1739.  Funeral  of  a  bishop.     S.  VI. 

1740.  St.  Apollonia.     S.  VI. 

Spanish  School  of  the  Seventeenth  Cextuuv. 

1741.  View  of  the  Palace  of  the  Escurial.     S.  \  I. 

1742.  Head  of  Christ  on  the  cross.     S.  VI. 
Nomiiiiber.  Portrait  of  a  man. 

*  It  has  been  discovered  recently  that  No.  1735  is  not  a  portrait  of  Dona  Maria 
Theresa,  but  of  Queen  Maria  Anna. 


INDEX  OF  ARTISTS 


pacp: 

PAGE 

PAGE 

PAGE 

TEXT 

INDEX 

TEXT 

INDEX 

AUiaiii      .      .      .      . 

21() 

273 

Cantarini       .      .      .     22() 

278 

Albertiiu-Ui    . 

1,50 

273 

Caravaggio   . 

222 

273 

Alunno    .      .      .      . 

57 

273 

Cardi 

230 

278 

Angeli,  Filippo 

273 

Carpaccio 

75 

278 

Angel i,  Giuseppe     . 

273 

Carracci,  Annil); 

de. 

209 

278 

Angelico  (Fra)    . 

^0 

281 

Carracci,  Antoni 

o    . 

212 

278 

Anselnii 

274 

Carreno  . 

255 

298 

Aiisuino 

274 

Carrucei 

154 

278 

Arellano 

26,5 

298 

Castelli    .      . 

232 

278 

Bagiiacavallo 

274 

Castiglione    . 

232 

279 

Barocci    .      .      .      . 

206 

274 

Catena     . 

73 

279 

Bartolo    .      .      .      . 

18 

275 

Cerquozzi 

228 

279 

Bartolommeo  (Fra) 

147 

275 

Cesari 

209 

279 

Bassano,  Jacopo 

186 

287 

Cinia 

76 

279 

Bassano,  Leandro   . 

187 

288 

Ciniabue 

3 

279 

Bellini.  Gentile 

7-2 

275 

CoUantes 

265 

298 

Bellini,  Giovanni 

73 

275 

Correggio 

201 

273 

Berrettini     . 

231 

275 

Cosiino    . 

145 

287 

Bianchi    . 

201 

275 

Costa 

89 

279 

Boccaecino    . 

20!) 

275 

Cretli 

39 

279 

Boltraffio       .      . 

Ill 

276 

Crespi 

220 

279 

Bonifazio  II  . 

179 

276 

Crivelli    . 

69 

279 

Bonoiii,  Bartolom- 

Dominichino 

216 

295 

meo 

86 

276 

Donducci 

220 

279 

Bonvincino    . 

2(X) 

276 

Fabriano 

55 

280 

Bordone,  Paris 

.      177 

276 

Fasoli 

86 

280 

Borgognone 

8o 

276 

Ferrari     . 

.     121 

280 

Botticelli       .      . 

.       -40 

281 

Feti    .      . 

.      228 

280 

Bramantino 

.       86 

292 

Francesca 

.       36 

281 

Bronzino 

.      156 

277 

Francia    . 

.       91 

288 

Calcar 

.      177 

277 

Fredi 

16 

275 

Campi     . 

.     200 

277 

Gaddi,  Agnolo 

11 

281 

Canaletto 

.      235 

277 

Gaddi,  Tad( 

leo 

11 

281 

301 


.'{()'2 


PAINTINGS   OF   THE   LOUVRE 


l-A<iK 

r,\<ir. 

I'AliK 

I'AOE 

TEXT 

IMH.X 

TKXT 

INDKX 

(iarlx) 

145 

281 

Moroni    . 

200 

286 

Ghirlanilajo,     Heiie 

Murillo    . 

255 

299 

(lotto    .      .      . 

4!) 

282 

Musiano 

286 

Ghirlandajo,  Dome 

Ncri   .... 

24 

286 

iiico 

4.> 

282 

( )ggioiio 

110 

2H5 

Ghirlandajo,  Kidol 

Palma  Vecchio 

KiO 

2S() 

fo          ... 

1.56 

2H3 

I'aiinc'Kijiani 

50 

286 

(iionlano 

009 

2S2 

Panetti     .      .      .      . 

91 

286 

Giorfjione 

Kil 

274 

I'aiiiai 

233 

286 

Giotto 

6 

282 

Pellegrini 

235 

286 

Goya 

^2(56 

298 

Pereda      .       .       .       . 

265 

299 

Gozzoli    . 

3^2 

2H2 

Perugiiio 

58 

293 

Gret-o      . 

•iSJt 

:HH) 

Peselliiio 

31 

287 

Griinaldi 

220 

283 

Pinturifchio 

61. 

287 

Gautii       ... 

2.'«i 

28.3 

Pisanello 

53 

287 

(iiiercliino     . 

219 

274 

Priniatricrio  . 

288 

Ilerrcra    . 

241 

298 

Raphael 

122 

290 

LanfraiKo     . 

283 

Reni          .      .      . 

213 

288 

I.aiiri 

283 

Rihera 

243 

299 

Lihri 

H4 

282 

liicci 

235 

288 

Lionardo   da  ^'i^(• 

I        !)S 

294 

Romano 

140 

287 

Lippi 

27 

283 

Romanelli 

231 

289 

Liircnzo  Monaco 

19 

283 

Rosa 

227 

289 

Lotto        .      .      . 

158 

284 

Roselli   di   Lorenzo 

38 

289 

Luciano 

US 

2S4 

Roselli,  Matteo 

230 

289 

Luini 

lU 

284 

Rosso 

289 

Mainardi 

V.) 

284 

Sacchi 

86 

290 

Manfredi 

227 

284 

Sano 

18 

274 

Manni     . 

67 

285 

Sarto 

150 

290 

Mantcgiia      . 

77 

285 

Sassoferrato 

221 

290 

Maratta 

220 

285 

Savoldo   . 

200 

291 

iSIarchesi 

96 

285 

Schiavone,  Andrea 

291 

Massone 

96 

285 

Schiavone,  Gregoric 

»       88 

291 

Mazzola 

206 

2S5 

Sesto 

.      108 

294 

Mazzolina     . 

286 

Signorelli 

51 

291 

Memmi   . 

14 

2H5 

Solano     . 

112 

291 

Messina 

70 

274 

Spada     . 

.     220 

291 

Montagna     . 

m 

2S6 

Spagna    . 

.       66 

292 

Morales  . 

.     239 

299 

Tiepolo   . 

.     237 

292 

INDEX  TO  ARTISTS 


303 


I'AOE 

I'AGE 

PAGE 

PAGE 

TEXT 

INDEX 

TEXT 

INDEX 

Tintoretto 

ISO 

289 

Varotari        ...     235 

293 

Tisi     .... 

201 

2<»2 

Vecchia  . 

293 

Titian      .     .      . 

1(J4 

293 

Velasquez 

248 

300 

Trevisani 

235 

292 

Veronese 

187 

277 

Tristan    .      .      . 

240 

300 

Verrocchio 

36 

Tura        .      .      . 

87 

'292 

Vivarini  . 

69 

295 

Turchi     .      .      . 

2.^4 

292 

Volterra 

143 

289 

Uccello    . 

26 

280 

Zacchia   . 

.      156 

295 

Vanni,  Francesco 

292 

Zurbaran 

242 

300 

Vanni,  Turino   . 

16 

293 

f' 


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